ib. 


>-^-Z<^M^/^^      !^  •     /X^^-^^^'V^-'^^^-'^ 


Copyright,    1901 

By 

THE    UNIVERSITY    SOCIETY 


COLLEGE 
LIBRARY 

ANTONY  AND   CLEOPATRA.     !r      '^ 

n  i- 

Preface.  ^"^'0  f 

The  First  Edition.  Antony  and  Cleopatra  was 'first 
printed  in  the  First  Folio.  It  is  mentioned  among  the 
plays  entered  by  Blount  in  1623  on  the  Stationers'  Reg- 
isters as  "  not  formerly  entered  to  other  men."  A  play 
on  the  same  subject  was  registered  by  the  same  publisher 
on  May  20th,  1608;  it  was  probably  the  present  drama, 
but  for  some  reason  or  other  no  Quarto  was  issued. 

The  text  of  the  play,  as  printed  in  the  First  Folio,  was 
probably  derived  from  a  carefully  written  manuscript 
copy,  and  is  on  the  whole  most  satisfactory. 

The  Date  of  Composition.  There  is  almost  unanimity 
among  scholars  in  assigning  Antony  and  Cleopatra  to 
1607-8,  i.e.  during  the  year  preceding  the  entry  referred 
to  above.  This  date  is  corroborated  by  internal  and  ex- 
ternal evidence.  Particularly  striking  are  the  results  ar- 
rived at  from  the  application  of  the  metrical  tests.  In 
Antony  and  Cleopatra  the  Poet  seems  for  the  first  time 
to  have  allowed  himself  the  freedom  of  using  the  unem- 
phatic  weak  monosyllables  at  the  end  of  his  lines — a 
characteristic  peculiar  to  the  plays  of  the  Fourth  Period."^ 
The  rhyme  test  and  the  feminine  ending  test  similarly 
stamp  the  play  as  belonging  to  the  same  late  period,  f  So 
far  as  "  date  "  of  composition  is  concerned,  Antony  and 

*  Antony  and  Cleopatra  numbers  28  "weak  endings";  Corio- 
ianus  44,  Cymbeline  52.  Winter's  Tale  43,  Tempest  25,  while  Mac- 
beth contains  but  2  instances,  Hamlet  none ;  no  play  before 
Antony  has  more  than  2;  most  of  them  have  none  at  all. 

'\  Antony  and  Cleopatra  and  Cnriolanus  have  each  42  rhymes. 


Preface  ANTONY  AND  CLEOPATRA 

Cleopatra  links  itself,  therefore,  with  Coriolaniis  rather 
than  with  Julius  Cccsar,  with  Macbeth  rather  than  with 
Hamlet.  The  same  is  true  of  its  "  ethical  "  relations  to 
these  plays. "^ 

Macbeth  III.  i.  54-57  should  be  compared  with  Antony 
and  Cleopatra,  II.  iii.  19-22;  Cyrnbeline,  II.  iv.  69-73  with 
Act  II.  ii.  189-221  ;  while  the  subject  of  Tinion  was  in 
all  probability  suggested  to  the  dramatist  in  reading  for 
the  present  play  {vide  Preface  to  Timon). 

The  Source  of  the  Plot.  Antony  and  Cleopatra  was 
directly  derived  from  Sir  Thomas  North's  famous  version 
of  Plutarch's  "  Lives  of  the  Noble  Grecians  and  Ro- 
mans," the  book  to  which  Shakespeare  was  indebted  also 
for  his  Coriolanus,  Julius  Cccsar,  and,  to  some  extent,  for 
Timon  of  Athens  {vide  Prefaces  to  these  plays  for  Shake- 
speare's obligations  to  Plutarch).  In  the  present  play  the 
dramatist  follows  the  historian  closely,  but  not  to  the  same 
extent  as  in  the  former  productions;!  the  glamour  of  the 
play  is  all  the  Poet's ;  the  prose  Life  does  not  dazzle  the 
reader;  the  facts  of  Cleopatra's  history  are  those  Shake- 
speare found  in  his  original ;  the  superb  portraiture  of  the 
*'  enchanting  queen  "  is  among  the  great  triumphs  of  the 
Poet's  matured  genius  ;  "  he  paints  her,"  wrote  Campbell, 
"  as  if  the  gipsy  herself  had  cast  her  spell  over  him,  and 
given  her  own  witchcraft  to  his  pencil." 

Plays  on  the  Subject  of  *' Antony  and  Cleopatra." 

Cleopatra  has  been  among  the  most  popular  of  subjects 

*  The  spiritual  material  dealt  with  by  Shakespeare's  imagination 
in  the  play  of  Julius  Ccesar  lay  wide  apart  from  that  which  forms 
the  centre  of  the  Antony  and  Cleopatra.  Therefore  the  Poet  was 
not  carried  directly  forward  from  one  to  the  other.  But  having 
in  Macbeth  studied  the  ruin  of  a  nature  which  gave  fair  promise 
in  men's  eyes  of  greatness  and  nobility,  Shakespeare,  it  may  be, 
proceeded  directly  to  a  similar  study  in  the  case  of  Antony. 

t  A  detailed  analysis  of  the  relation  of  Antony  and  Cleopatra  to 
Plutarch's  "Life  of  Antony"  is  to  be  found  in  Vol.  XXI.  of  the 
Shakespeare  Jahrhuch,  contributed  by  Dr.  Fritz  Adler. 


ANTONY  AND  CLEOPATRA  Preface 

for  the  modern  drama,  and  some  thirty  plays  are  extant, 
in  Latin,  French,  ItaHan,  and  EngHsh,  deaHng  with  her 
fascinating  story  ;  the  French  dramatists  contribute  no 
less  than  sixteen  items  to  the  catalogue,  starting  with  the 
Cleopatra  of  Jodelle,  the  first  regular  French  tragedy. 
Two  English  productions  preceded  Shakespeare's  play, 
Lady  Pembroke's  Ajitonie,  translated  from  Garnier,  and 
Daniel's  companion  drama  Cleopatra  (1594)  called  forth 
by  the  former : — 

"  thy  well-graced  Anthony 
(Who  all  alone  remained  long) 
Required  his  Cleopatra's  company." 

Dryden's  "All  for  Love.';  Dryden's  "^//  for  Love; 
or,  The  World  Well  Lost,"  "  written  in  imitation  of 
Shakespeare's  style  "  (pub.  1678,  1692,  1703,  1709)  was 
its  author's  favourite  production, — "  the  only  play  he 
wrote  for  himself  "  ;  its  popularity  was  great ;  and  the 
older  critics  were  fond  of  praising  its  regularity  and 
poetic  harmony,  though  they  generously  recognized  that 
it  fell  short  of  its  first  model  in  fire  and  originality  {cf. 
Baker's  Bibliographia  Dramatica).  It  held  the  stage  for 
a  century,  and  has  in  all  probability  been  acted  ten  times 
oftener  than  Shakespeare's  Antony  and  Cleopatra. 
Campbell  evidenced  this  fact  as  a  proof  of  England's  neg- 
lect of  Shakespeare,  as  a  disgrace  to  British  taste.  "  Dry- 
den's  Adarc  Antony  is  a  weak  voluptuary  from  first  to  last. 
.  A  queen,  a  siren,  a  Shakespeare's  Cleopatra 
alone  could  have  entangled  Shakespeare's  Antony,  while 
an  ordinary  wanton  could  have  enslaved  Dryden's  hero." 

Duration  of  Action.  The  Time  of  the  Play,  as  repre- 
sented on  the  stage,  covers  twelve  days,  with  intervals : — 

Day  I,  Act  i.  Sc.  i.-iv.  Interval  of  twenty  days.  Day 
2,  Act  I.  Sc.  V. ;  Act  IL  Sc.  i.-iii.  Day  3,  Act  IL  Sc.  iv. 
Interval  Day  4,  Act  II.  Sc.  v.-vii.  [Act  III.  Sc.  iii-l 
Interval  (?).  Day  5,  Act  III.  Sc.  i.  and  ii.  Interval. 
Day  6,  Act  III.  Sc.  iv.  and  v.     Interval     Day  7,  Act  III. 

3 


Preface  ANTONY  AND  CLEOPATRA 

Sc.  vi.  Day  8,  Act  III.  Sc.  vii.  Day  9,  Act  III.  Sc. 
viii.-x.  Interval.  Day  10,  Act  III.  Sc.  xi.-xiii. ;  Act  IV. 
Sc.  i.-iii.  Day  11,  Act  IV.  Sc.  iv.-ix.  Day  12,  Act  IV. 
Sc.  x.-xv. ;  Act  V.  Sc.  i.  and  ii.  (cp.  Trans.  A^czc  Shak. 
Soc,  1877-79). 

The  historic  period  embraces  as  many  years  as  there  are 
days  in  the  play,  stretching  from  about  B.C.  42  to  30 ;  that 
is,  from  the  events  immediately  following  the  deaths  of 
Brutus  and  Cassius  at  Philippi  to  the  deaths  of  Antony 
and  Cleopatra  in  Egypt. 


(€be  soroeouitf  <iEast,  toitb  liberal  banb, 
;^bottJEr?  on  bcr  ftin0g  barbaric  pearl  and  golb/* 


ANTONY  AND  CLEOPATRA 


Critical  Comments. 
I. 

Argument. 

I.  After  the  defeat  of  Brutus  and  Cassius  at  Philippi, 
the  Roman  Empire  had  been  divided  among  the  triumvirs, 
Antony,  Octavius,  and  Lepidus.  Antony  having  sum- 
moned a  vassal  of  his  Eastern  dominions — Cleopatra, 
queen  of  Egypt — to  answer  for  her  conduct  in  aiding 
Brutus  and  Cassius,  is  himself  taken  captive  by  her 
charms.  He  goes  with  her  to  Alexandria,  where  they 
give  themselves  over  to  the  voluptuous  life  of  her  court. 
A  messenger  arrives  to  inform  Antony  of  the  death  of 
his  deserted  wife  Fulvia.  Another  messenger  brings  him 
word  of  an  attack  upon  Italy  by  the  maritime  forces  of 
Sextus  Pompeius.  Antony  shakes  off  his  amorous  chains 
and  hastens  back  to  the  seat  of  the  empire. 

II.  Antony  reaches  Rome  just  in  time  to  patch  up 
serious  dift"erences  with  the  other  two  triumvirs,  to  whgm 
he  explains  the  attack  upon  Italy  as  merely  a  feint  on  the 
part  of  his  late  wife  Fulvia  to  recall  him  from  Egypt. 
He  renews  alliance  with  the  other  triumvirs  by  marrying 
Octavia,  the  sister  of  Octavius.  A  treaty  of  peace  is  made 
between  the  triumvirate  and  Pompey. 

III.  Octavia,  instead  of  serving  as  a  bond  to  the 
friendship  of  Octavius  and  Antony,  becomes  a  knot  to 
strangle  it ;  for  Octavius  soon  breaks  his  peace  with  Pom- 
pey, defeats  him  in  battle,  and  presently  seizes  Lepidus, 
whom  he  holds  in  prison.  None  now  remains  between 
Octavius  and  absolute  dominion  save  Antony,  who  might 
have  proved  a  strong  rival  had  not  the  enticements  of 


Comments     ANTONY  AND  CLEOPATRA 

Cleopatra  lured  him  once  more  over  sea,  while  his  wife 
is  on  a  mission  of  peace  to  Octavius,  who,  no  doubt,  is 
incensed  because  of  the  treatment  his  sister  has  received, 
but  is  also  glad  to  have  this  pretext  for  attacking  Antony. 
The  hostile  fleets  engage  near  Actium,  where  the  defec- 
tion of  Cleopatra's  admiral  gives  the  victory  to  Octavius. 
Antony  seeks  to  make  terms  with  the  victor,  and  being 
unsuccessful,  hurls  defiance  at  him. 

IV.  The  forces  now  encounter  upon  land,  and  An- 
tony wins  the  first  day's  fight.  But  on  the  second  day 
the  Egyptian  admiral  yields  Antony's  fleet  to  the  foe,  and 
the  desertion  of  other  of  Antony's  forces  leaves  him  de- 
feated, disheartened,  and  dishonoured.  In  a  stormy  scene 
he  upbraids  Cleopatra  with  treachery,  and  soon  after  falls 
upon  his  sword.  He  dies  in  her  presence,  begging  to  lay 
his  last  kiss  upon  her  lips. 

V.  Cleopatra,  who,  despite  her  duplicity,  has  been  pas- 
sionately engrossed  with  Antony  and  his  fortunes,  deter- 
mines to  follow  him  to  speedy  death.  Her  purpose  is 
strengthened  by  the  fact  that  Octavius  makes  her  a  hos- 
tage of  w^ar,  and  reserves  her  to  grace  his  triumph.  She 
flees  to  a  monument,  and  there  perishes  by  the  bite  of  an 
asp  secretly  brought  to  her  in  a  basket  of  figs. 

McSpadden  :  Shakespearian  Synopses. 

II. 

Antony. 

The  tragic  interest  evidently  centres  not  in  Cleopatra, 
but  in  the  victim  of  her  "  strong  toil  of  grace."  In  tracing 
the  operation  of  her  spell"  upon  Antony,  Shakespeare  on 
the  whole  follows  Plutarch'^  facts  as  far  as  they  go ;  but 
he  interprets  and  expands  them  in  the  light  of  his  own 
finer  psychology  and  humaner  ethics.  Some  coarser  and 
duller  touches  in  both  characters  he  effaces.  The  hoyden 
disappears  in  her ;  the  vulgar  debauchee,  the  sour  misan- 
thrope, and  the  gull,  in  him.     In  her  most  wilful  and  wan- 

6 


ANTONY  AND  CLEOPATRA  Comments 

ton  moods  she  is  still  the  queen  ;  and  Antony,  revelling 
or  raging,  blindly  rushing  on  his  fate  or  desperately  suc- 
cumbing to  it,  is  still  the  great-hearted  man  of  genius. 
His  subjection  to  Cleopatra  is  even  more  absolute  in  pro- 
portion as  it  acts  through  subtler  and  more  complicated 
sources  of  attraction.  It  is  just  as  fatal  to  his  judgement 
and,  for  a  moment,  to  his  instinct  of  military  honour.  His 
fatuous  decision  to  "  fight  at  sea,"  and  his  unmanly  flight 
in  the  train  of  Cleopatra  and  her  fugitive  galleys,  seal  his 
fate  as  surely  in  the  play  as  in  the  history ;  and  Shake- 
speare exposes  them,  through  the  mouth  of  Enobarbus,  as 
incisively  as  Plutarch.  But  for  Plutarch  the  whole  rela- 
tion of  Antony  to  Cleopatra,  and  indeed  of  lovers  in  gen- 
eral, is  typified  in  this  fatuous  oblivion  of  his  better  self. 
Antony's  doings  in  the  Parthian  wars  are 
wholly  omitted  ;  his  long  sojourn  in  Rome  becomes  a  brief 
visit.  Of  his  two  wives,  Fulvia  is  only  heard  of  as  a 
troublesome  thorn  in  his  flesh,  and  Octavia's  "  holy,  cold, 
and  still  conversation  "  is  denuded  of  charm  for  us  as  for 
Antony.  He  has  an  exquisite  phrase  for  her  stillness,  as 
for  everything  else  ;  but  his  marriage  is  purely  diplomatic, 
even  nominal,  and  it  hardly  needed  the  shrewdness  of 
Enobarbus  to  foresee  that  "  the  band  that  seems  to  tie  their 
friendship  together  will  be  the  very  strangler  of  their 
amity."  Herford  :  The  Eversley  Shakespeare. 

III. 

Cleopatra. 

I  have  not  the  slightest  doubt  that  Shakspeare's  Cleo- 
patra is  the  real  historical  Cleopatra — the  "  Rare  Egyp- 
tian " — individualized  and  placed  before  us.  Her  mental 
accomplishments,  her  unequalled  grace,  her  woman's  wit 
and  woman's  wiles,  her  irresistible  allurements,  her  starts 
of  irregular  grandeur,  her  bursts  of  ungovernable  temper, 
her  vivacity  of  imagination,  her  petulant  caprice,  her 
fickleness  and  her  falsehood,  her  tenderness  and  her  truth, 


Comments  ANTONY  AND  CLEOPATRA 

l:er  childish  susceptibihty  to  flattery,  her  magnificent  spirit, 
her  royal  pride,  the  gorgeous  Eastern  colouring  of  the 
character ;  all  these  contradictory  elements  has  Shak- 
speare  seized,  mingled  them  in  their  extremes,  and  fused 
them  into  one  brilliant  impersonation  of  classified  ele- 
gance. Oriental  voluptuousness,  and  gypsy  sorcery. 

What  better  proof  can  we  have  of  the  individual  truth 
of  the  character  than  the  admission  that  Shakspeare's 
Cleopatra  produces  exactly  the  same  effect  on  us  that  is 
recorded  of  the  real  Cleopatra?  She  dazzles  our  faculties, 
perplexes  our  judgement,  bewilders  and  bewitches  our 
fancy ;  from  the  beginning  to  the  end  of  the  drama,  we 
are  conscious  of  a  kind  of  fascination  against  which  our 
moral  sense  rebels,  but  from  which  there  is  no  escape. 
The  epithets  applied  to  her  perpetually  by  Antony  and 
others  confirm  this  impression  :  ''  enchanting  queen  !  " — 
"  witch  "  —  ''  spell  "  —  "  great  fairy  "  —  "  cockatrice  "  — 
"  serpent  of  old  Nile  " — "  thou  grave  charm !  "  are  only  a 
few  of  them  ;  and  who  does  not  know  by  heart  the  famous 
quotations  in  which  this  Egyptian  Circe  is  described  with 
all  her  infinite  seductions? 

To  these  traits  we  must  add,  that  with  all  her  violence, 
perverseness,  egotism,  and  caprice,  Cleopatra  mingled  a 
capability  for  warm  affections  and  kindly  feeling,  or 
rather  what  we  should  call,  in  these  days,  a  constitutional 
good-nature ;  and  was  lavishly  generous  to  her  favourites 
and  dependents.  These  characteristics  we  find  scattered 
through  the  play ;  they  are  not  only  faithfully  rendered 
by  Shakspeare,  but  he  has  made  the  finest  use  of  them  in 
his  delineation  of  manners.  Hence  the  occasional  free- 
dom of  her  women  and  her  attendants,  in  the  midst  of 
their  fears  and  flatteries,  becomes  most  natural  and  con- 
sistent :  hence,  too,  their  devoted  attachment  and  fidelitv. 
proved  even  in  death.  But  as  illustrative  of  Cleopatra's 
disposition,  perhaps  the  finest  and  most  characteristic 
scene  in  the  whole  play  is  that  in  which  the  messeno^er 
irrives  from  Rome  with  the  tidings  of  Antony's  marriage 
with  Octavia.     She  perceives  at  once  with  quickness  that 

3 


ANTONY  AND  CLEOPATRA  Comments 

all  is  not  well,  and  she  hastens  to  anticipate  the  worst,  that 
she  may  have  the  pleasure  of  being  disappointed.  Her 
impatience  to  know  what  she  fears  to  learn,  the  vivacity 
with  which  she  gradually  works  herself  up  into  a  state  of 
excitement,  and  at  length  into  fury,  is  wrought -out  with 
a  force  of  truth  which  makes  us  recoil.  .  .  .  The 
pride  and  arrogance  of  the  Egyptian  queen,  the  blandish- 
ment of  the  woman,  the  unexpected  but  natural  transitions 
of  temper  and  feeling,  the  contest  of  various  passions,  and 
at  length — when  the  wild  hurricane  has  spent  its  fury — 
the  melting  into  tears,  faintness,  and  languishment,  are 
portrayed  with  the  most  astonishing  power,  and  truth, 
and  skill  in  feminine  nature.  More  wonderful  still  is 
the  splendour  and  force  of  colouring  which  is  shed  over 
this  extraordinary  scene.  The  mere  idea  of  an  angry 
woman  beating  her  menial,  presents  something  ridiculous 
or  disgusting  to  the  mind  ;  in  a  queen  or  a  tragedy  heroine 
it  is  still  more  indecorous ;  yet  this  scene  is  as  far  as  pos- 
sible from  the  vulgar  or  the  comic. 

Shakspeare  has  shown  profound  judgement  and  feel- 
ing in  adhering  closely  to  the  classical  authorities  ;  and 
to  say  that  the  language  and  sentiments  worthily  fill  up 
the  outline  is  the  most  magnificent  praise  that  can  be 
given.  The  magical  play  of  fancy  and  the  overpowering 
fascination  of  the  character  are  kept  up  to  the  last :  and 
when  Cleopatra,  on  applying  the  asp,  silences  the  lamenta- 
tions of  her  women — 

Peace !  peace ! 
Dost  thou  not  see  my  baby  at  my  breast. 
That  sucks  the  nurse  to  sleep? — 

these  few  words — the  contrast  between  the  tender  beauty 
of  the  image  and  the  horror  of  the  situation — produce  an 
effect  more  intensely  mournful  than  all  the  ranting  in  the 
world.  The  generous  devotion  of  her  women  adds  the 
moral  charm  which  alone  was  wanting :  and  when  Octa- 
vius  hurries  in  too  late  to  save  his  victim,  and  exclaims, 
when  gazing  on  her, — 


Comments  ANTONY  AND  CLEOPATRA 

She  looks  like  sleep- 
As  she  would  catch  another  Antony 
in  her  strong  toil  of  grace, — 

the  image  of  her  beauty  and  her  irresistible  arts,  trium- 
phant even  in  death,  is  at  once  brought  before  us,  and  one 
masterly  and  comprehensive  stroke  consummates  this  most 
wonderful,  most  dazzling  delineation. 

I  am  not  here  the  apologist  of  Cleopatra's  historical 
character,  nor  of  such  women  as  resemble  her :  I  am  con- 
sidering her  merely  as  a  dramatic  portrait  of  astonishing 
beauty,  spirit,  and  originality.  She  has  furnished  the  sub- 
ject of  two  Latin,  sixteen  French,  six  English,  and  at  least 
four  Italian  tragedies ;  yet  Shakspeare  alone  has  availed 
himself  of  all  the  interest  of  the  story,  without  falsifying 
the  character.  He  alone  has  dared  to  exhibit  the  Egyp- 
tian queen  with  all  her  greatness  and  all  her  littleness — 
all  her  frailties  of  temper — all  her  paltry  arts  and  disso- 
lute passions — yet  preserved  the  dramatic  propriety  and 
poetical  colouring  of  the  character,  and  awakened  our  pity 
for  fallen  grandeur,  without  once  beguiling  us  into  sym- 
pathy with  guilt  and  error. 

Mrs.  Jameson  :  Characteristics  of  Women. 


Pascal  says  in  his  Pcnsees :  ''  Si  le  nez  de  Cleopatre 
c\xt  ete  plus  court,  toute  la  face  de  la  terre  aurait  change." 
But  her  nose  was,  as  the  old  coins  show  us,  exactly  what  it 
ought  to  have  been  ;  and  in  Shakespeare  we  feel  that  she 
is  not  only  beauty  itself,  but  charm,  except  in  one  single 
scene,  where  the  news  of  Antony's  marriage  throws  her 
into  a  paroxysm  of  unbeautiful  rage.  Her  charm  is  of 
the  sense-intoxicating  kind,  and  she  has,  by  study  and  art, 
developed  those  powers  of  attraction  v/hich  she  possessed 
from  the  outset,  till  she  has  become  inexhaustible  in  inven- 
tiveness and  variety.  She  is  the  woman  who  has  passed 
from  hand  to  hand,  from  her  husband  and  brother  to  Pom- 
pey,  from  Pompey  to  the  great  Caesar,  from  Caesar  to 
countless  others.     She  is  the  courtesan  by  temperament, 


10 


ANTONY  AND  CLEOPATRA     Comments 

but  none  the  less  does  she  possess  the  genius  for  a  single, 
undivided  love.  She,  like  Antony,  is  complex,  and  being 
a  woman,  she  is  more  so  than  he.  J'^ir  duplex,  femina 
triplex. 

From  the  beginning  and  almost  to  the  end  of  the  trag- 
edy she  plays  the  part  of  the  great  coquette.  What  she 
says  and,  does  is  for  long  only  the  outcome  of  the  co- 
quette's desire  and  power  to  captivate  by  incalculable  ca- 
prices. She  asks  where  Antony  is,  and  sends  for  him 
(I.  ii.).  He  comes.  She  exclaims:  "  We  will  not  look 
upon  him,"  and  goes.  Presently  his  absence  irks  her,  and 
again  she  sends  a  messenger  to  remind  him  of  her  and 
keep  him  in  play  (I.  iii.)  : — 

"  If  you  find  him  sad, 
Say  I  am  dancing;  if  in  mirth,  report 
That  I  am  sudden  sick     ..." 

He  learns  of  his  wife's  death.  She  would  have  been  be- 
side herself  if  he  had  shown  grief,  but  he  speaks  with 
coldness  of  the  loss,  and  she  attacks  him  because  of  this  : — 

"  Where  be  the  sacred  vials  thou  shouldst  fill 
With  sorrowful  water  ?     Now  I  see,  I  see. 
In  Fulvia's  death,  how  mine  received  shall  be." 

This  incalculability,  this  capriciousness  of  hers  extends  to 
the  smallest  matters.  She  invites  Mardian  to  play  a  game 
of  billiards  with  her  (an  amusing  anachronism),  and, 
finding  him  ready,  she  turns  him  off  with  :  "  I  '11  none 
now." 

But  all  this  mutability  does  not  exclude  in  her  the  most 
real,  most  passionate  love  for  Antony.  The  best  proof  of 
its  strength  is  the  way  in  which  she  speaks  of  him  when  he 
is  absent.  Nor  is  it  irony  when  Enobarbus,  in  reply  to 
Antony's  complaint  (I.  ii.),  "  She  is  cunning  past  man's 
thought,"  makes  answer,  "  Alack,  sir,  no ;  her  passions 
are  made  of  nothing  but  the  finest  part  of  pure  love." 
This  is  literally  true — only  that  the  love  is  not  pure  in  the 

II 


Comments      ANTONY  AND  CLEOPATRA 

sense  of  being  sublimated  or  unegoistic,  but  in  the  sense 
of  being  quintessential  erotic  emotion,  chemically  free 
from  all  the  other  elements  usually  combined  with  it. 

And  outward  circumstances  harmonize  with  the  char- 
acter and  vehemence  of  this  passion.  He  lays  the  king- 
doms of  the  East  at  her  feet ;  wath  reckless  prodigality, 
she  lavishes  the  wealth  of  Africa  on  the  festivals  she  holds 
in  his  honour. 

Brandes  :  William  Shakespeare. 

IV. 

Octavia. 

Octavia  has  furnishings  enough  for  the  heroine  of  a 
great  tragedy;  but  she  is  not  fitted  to  shine  in  the  same 
sphere  with  Cleopatra,  as  her  mild,  stead}^  serene  light 
would  needs  be  paralyzed  by  the  meteoric  showers  of  the 
Egyptian  enchantress.  The  Poet  has  not  done  justice  to 
her  sweet  and  solid  qualities,  and  indeed,  from  the  nature 
of  the  case,  the  more  justice  they  had  received,  the  more 
had  they  suffered  by  contrast  with  the  perilous  brilliancv 
of  her  rival.  Yet  he  shows  that  he  fully  knew  and  felt 
her  beauty  and  elevation  of  character,  by  the  impression 
others  take  of  her.  Her  behaviour  is  always  most  dig- 
nified, discreet,  and  womanly ;  while  her  "  holy,  cold,  and 
still  conversation,"  the  dreaded  chastisements  of  her  sober 
eye,  her  patience,  modesty,  and  silent  austerity  of  reproof, 
as  these  are  reflected  from  the  thoughts  of  those  who  have 
given  themselves  most  cause  to  wish  her  other  than  she 
is,  gain  her  something  better  than  our  admiration.  The 
Poet's  good  judgement  in  never  bringing  her  and  Cleo- 
patra together  is  deservedly  celebrated. 

Hudson  :  The  Works  of  Shakespeare. 


I   do  not  understand  the   observation   of  a  late  critic 
[Hazlitt]  that  in  this  play  "  Octavia  is  only  a  dull  foil  to 


ANTONY  AND  CLEOPATRA     Comments 

Cleopatra."  Cleopatra  requires  no  foil,  and  Octavia  is  not 
dull,  though  in  a  moment  of  jealous  spleen  her  accom- 
plished rival  gives  her  that  epithet.  It  is  possible  that  her 
beautiful  character,  if  brought  more  forward  and  col- 
oured up  to  the  historic  portrait,  would  still  be  eclipsed  by 
the  dazzling  splendour  of  Cleopatra's ;  for  so  I  have  seen 
a  flight  of  fireworks  blot  out  for  a  while  the  silver  moon 
and  ever-burning  stars.  But  here  the  subject  of  the 
drama  being  the  love  of  Antony  and  Cleopatra,  Octavia 
is  very  properly  kept  in  the  background,  and  far  from 
any  competition  with  her  rival :  the  interest  would  other- 
wise have  been  tmpleasantly  divided,  or  rather  Cleopatra 
herself  must  have  served  but  as  a  foil  to  the  tender,  virtu- 
ous, dignified,  and  generous  Octavia,  the  very  beau  ideal 
of  a  noble  Roman  lady. 

Dryden  has  committed  a  great  mistake  in  bringing  Oc- 
tavia and  her  children  on  the  scene,  and  in  immediate 
contact  with  Cleopatra.  To  have  thus  violated  the  truth 
of  history  might  have  been  excusable,  but  to  sacrifice  the 
truth  of  nature  and  dramatic  propriety,  to  produce  a  mere 
stage  effect,  was  unpardonable.  In  order  to  preserve  the 
unity  of  interest,  he  has  falsified  the  character  of  Octavia 
as  w^ell  as  that  of  Cleopatra :  he  has  presented  us  with  a 
regular  scolding-match  between  the  rivals,  in  wdiich  they 
come  sw^eeping  up  to  each  other  from  opposite  sides  of 
the  stage,  with  their  respective  trains,  like  two  peahens 
in  a  passion.  Shakspeare  would  no  more  have  brought 
his  captivating,  brilliant,  but  meretricious  Cleopatra  into 
immediate  comparison  with  the  noble  and  chaste  simplicity 
of  Octavia,  than  a  connoisseur  in  art  would  have  placed 
Canova's  Dansatrice,  beautiful  as  it  is,  beside  the  Athenian 
Melpomene,  or  the  Vestal  of  the  Capitol. 

The  character  of  Octavia  is  merely  indicated  in  a  few 
touches,  but  every  stroke  tells.  We  see  her  wdth  "  down- 
cast eyes  sedate  and  sweet,  and  looks  demure — wdth  her 
modest  tenderness  and  dignified  submission — the  very  an- 
tipodes of  her  rival !  Nor  should  we  forget  that  she  has 
furnished  one  of  the  most  graceful  similes  in  the  whole 

13 


Comments  ANTONY  AND  CLEOPATRA 

compass  of  poetry,  where  her  soft  equanimity  in  the  midst 
of  grief  is  compared  to — 

The  swan's  down-feather, 
That  stands  upon  the  swell  at  full  of  tide 
And  neither  way  inclines. 

Mrs.  Jameson  :  Characteristics  of  Women, 


Enobarbus. 

On  the  whole,  after  Octavia,  Enorbarbus  is  rather  the 
noblest  character  in  the  play.  His  blunt,  prompt,  rough- 
spoken  sagacity,  mingled  with  a  certain  slyness  of  thought, 
a  racy  infusion  of  humour,  and  a  pungent,  searching  irony 
of  discourse,  interpret  with  remorseless  fidelity  the  moral 
import  of  the  characters  and  movements  about  him  ;  while 
the  splitting  of  his  heart  with  grief  and  remorse  for  hav- 
ing deserted  the  ship  of  his  master,  which  he  knew  to  be 
sinking,  shows  him  altogether  a  noble  vessel  of  manhood. 
That  Antony's  generosity  kills  him,  approves,  as  nothing 
else  could  do,  how  generous  he  is  himself.  The  character 
is  almost  entirely  the  Poet's  own  creation,  Plutarch  fur- 
nishing but  one  or  two  unpregnant  hints  towards  it.  In 
the  play,  he  seems  designed  in  part  to  serve  as  the  organ 
and  mouthpiece  of  the  author's  judgement  respecting  the 
other  persons ;  so  that  in  him  we  have  at  once  a  character 
and  a  commentary. 

Hudson  :  The  Works  of  Shakespeare. 

VI. 

Shakespeare's  Way  and  Dryden's. 

If  I  were  to  select  any  historical  play  of  Shakespeare, 
in  which  he  has  combined  an  almost  literal  fidelity  to  his- 
tory with  an  equal  faithful  adherence  to  the  truth  of  na- 
ture, and  in  which  he  superinduces  the  merit  of  skilful 
dramatic  management,  it  would  be  [Antony  and  Cleo- 
patra].    In  his  portraiture  of  Antony  there  is,  perhaps, 

14. 


ANTONY  AND  CLEOPATRA  Comments 

a  flattered  likeness  of  the  original  by  Plutarch ;  but  the 
similitude  loses  Httle  of  its  strength  by  Shakespeare's  soft- 
ening and  keeping  in  the  shade  his  traits  of  cruelty.  In 
Cleopatra,  we  can  discern  nothing  materially  different 
from  the  vouched  historical  sorceress  ;  she  nevertheless 
has  a  more  vivid  meteoric  and  versatile  play  of  enchant- 
ment in  Shakespeare's  likeness  of  her  than  in  a  dozen  of 
other  poetical  copies  in  which  the  artists  took  much  greater 
liberties  with  historical  truth :  he  paints  her  as  if  the 
gypsy  herself  had  cast  her  spell  over  him,  and  given  her 
own  w^itchcraft  to  his  pencil. 

At  the  same  time,  playfully  interesting  to  our  fancy  as 
he  makes  this  enchantress,  he  keeps  us  far  from  a  vicious 
sympathy.  The  asp  at  her  bosom,  that  lulls  its  nurse 
asleep,  has  no  poison  for  our  morality.  A  single  glance 
at  the  devoted  and  dignified  Octavia  recalls  our  homage 
to  virtue ;  but  with  delicate  skill  he  withholds  the  purer 
woman  from  prominent  contact  with  the  w^anton  queen, 
and  does  not,  like  Dry  den,  bring  the  two  to  a  scolding- 
match.  The  latter  poet's  All  for  Love  w^as  regarded  by 
himself  as  his  masterpiece,  and  is  by  no  means  devoid  of 
merit ;  but  so  inferior  is  it  to  the  prior  drama,  as  to  make 
it  disgraceful  to  British  taste  for  one  hundred  years  that 
the  former  absolutely  banished  the  latter  from  the  stage. 
A  French  critic  calls  Great  Britain  the  island  of  Shake- 
speare's idolaters  ;  yet  so  it  happens,  in  this  same  island, 
that  Dryden's  All  for  Love  has  been  acted  ten  times 
oftener  than  Shakespeare's  Antony  and  Cleopatra. 

Dryden's  Marc  Antony  is  a  weak  voluptuary  from  first 
to  last.  Not  a  sentence  of  manly  virtue  is  ever  uttered 
by  him  that  seems  to  come  from  himself ;  and  whenever 
he  expresses  a  moral  feeling,  it  appears  not  to  have  grown 
up  in  his  own  nature,  but  to  have  been  planted  there  by 
the  influence  of  his  friend  Ventidius,  like  a  flower  in  a 
child's  garden,  only  to  wither  and  take  no  root.  Shake- 
speare's Antony  is  a  very  different  being.  When  he  hears 
of  the  death  of  his  first  wife,  Fulvia,  his  exclamation, 
"  There  's  a  great  spirit  gone !  "   and  his  reflections  on  his 

15 


Comments  ANTONY  AND  CLEOPATRA 

own  enthralment  by  Cleopatra  mark  the  residue  of  a  noble 
mind.  A  queen,  a  siren,  a  Shakespeare's  Cleopatra  alone 
could  have  entangled  Mark  Antony,  while  an  ordinary 
wanton  could  have  enslaved  Dryden's  hero. 

Campbell. 
VII. 

The  Poet's  Lesson. 

We  do  not  mistake  this  feeling  of  Cleopatra  towards 
Antony  for  love  ;  but  he  has  been  for  her  ( who  had  known 
Caesar  and  Pompey)  the  supreme  sensation.  She  is 
neither  faithful  to  him  nor  faithless ;  in  her  complex  na- 
ture, beneath  each  fold  or  layer  of  sincerity  Hes  one  of 
insincerity,  and  we  cannot  tell  which  is  the  last  and  in- 
nermost. Her  imagination  is  stimulated  and  nourished  by 
Antony's  presence.  And  he,  in  his  turn,  finds  in  the 
beauty  and  witchcraft  of  the  Egyptian  something  no  less 
incommensurable  and  incomprehensible.  Yet  no  one  felt 
more  profoundly  than  Shakspere — as  his  Sonnets  abun- 
dantly testify — that  the  glory  of  strength  and  of  beauty  is 
subject  to  limit  and  to  time.  What  he  would  seem  to  say 
to  us  in  this  play,  not  in  the  manner  of  a  doctrinaire  or  a 
moralist,  but  wholly  as  an  artist,  is  that  this  sensuous  in- 
finite is  but  a  dream,  a  deceit,  a  snare.  The  miserable 
change  comes  upon  Antony.  The  remorseless  practice  of 
Cleopatra  upon  his  heart  has  done  him  to  death.  And 
among  things  which  the  barren  world  offers  to  the  Queen 
she  now  finds  death — a  painless  death — the  least  hateful. 
Shakspere,  in  his  high  impartiality  to  fact,  denies  none  of 
the  glory  of  the  lust  of  the  eye  and  the  pride  of  life.  He 
compels  us  to  acknowledge  these  to  the  utmost.  Biit  he 
adds  that  there  is  another  demonstrable  fact  of  the  world 
which  tests  the  visible  pomp  of  the  earth,  and  the  splen- 
dour of  sensuous  passion,  and  finds  them  wanting.  The 
glory  of  the  royal  festival  is  not  dulled  by  Shakspere  or 
diminished ;  but,  also,  he  shows  us,  in  letters  of  flame,  the 
handwriting  upon  the  wall. 

DowDEN :  Shakspere. 
i6 


ANTONY  AND  CLEOPATRA     Comments 

VIII. 
The  Masterpiece  of  Passion. 

Shakespeare  can  be  complimented  only  by  comparison 
with  himself :  all  other  eulogies  are  either  heterogeneous, 
as  when  they  are  in  reference  to  Spenser  or  Milton  ;  or 
they  are  flat  truisms,  as  when  he  is  gravely  preferred  to 
Corneille,  Racine,  or  even  his  own  immediate  successors, 
Beaumont  and  Fletcher,  iMassinger  and  the  rest.  The 
highest  praise,  or  rather  form  of  praise,  of  this  play,  which 
I  can  offer  in  my  own  mind,  is  the  doubt  which  the  perusal 
always  occasions  in  me,  whether  the  Antony  and  Cleopatra 
is  not,  in  all  exhibitions  of  a  giant  power  in  its  strength 
and  vigour  of  maturity,  a  formidable  rival  of  Macbeth, 
Lear,  Hamlet,  and  Othello.  Feliciter  audax  is  the  motto 
for  its  style  comparatively  with  that  of  Shakespeare's 
other  works,  even  as  it  is  the  general  motto  of  all  his 
Vv'orks  compared  with  those  of  other  poets.  Be  it  remem- 
bered, too,  that  this  happy  valiancy  of  style  is  but  the  rep- 
resentative and  result  of  all  the  material  excellencies  so 
expressed. 

This  play  should  be  perused  in  mental  contrast  with 
Romeo  and  Juliet — as  the  love  of  passion  and  appetite  op- 
posed to  the  love  of  affection  and  instinct.  But  the  art 
displayed  in  the  character  of  Cleopatra  is  profound;  in 
this,  especially,  that  the  sense  of  criminality  in  her  passion 
is  lessened  by  our  insight  into  its  depth  and  energy,  at  the 
very  moment  that  we  cannot  but  perceive  that  the  passion 
itself  springs  out  of  the  habitual  craving  of  a  licentious 
nature,  and  that  it  is  supported  and  reinforced  by  volun- 
tary stimulus  and  sought-for  associations,  instead  of  blos- 
soming out  of  spontaneous  emotion. 

Of  all  of  Shakespeare's  historical  plays,  Antony  and 
Cleopatra  is  by  far  the  most  wonderful.  There  is  not  one 
in  which  he  has  followed  history  so  minutely,  and  yet 
there  are  few  in  which  he  impresses  the  notion  of  angelic 
strength  so  much — perhaps  none  in  which  he  impresses  it 

17 


Comments  ANTONY  AND  CLEOPATRA 

more  strongly.  This  is  greatly  owing  to  the  manner  in 
which  the  fiery  force  is  sustained  throughout,  and  to  the 
numerous  momentary  flashes  of  nature  counteracting  the 
historic  abstraction.  As  a  wonderful  specimen  of  the  way 
in  which  Shakespeare  lives  up  to  the  very  end  of  this  play, 
read  the  last  part  of  the  concluding  scene.  And  if  you 
would  feel  the  judgement  as  well  as  the  genius  of  Shake- 
speare in  your  heart's  core,  compare  this  astonishing 
drama  with  Dryden's  All  for  Love. 

Coleridge  :  Azotes  and  Lectures  upon  Shakespeare. 


The  greatest  monument  of  [Shakespeare's]  dramatic 
subtlety  is  the  tragedy  of  Antony  and  Cleopatra.  With 
all  its  noble  bursts  of  passion  and  occasional  splendour  of 
description,  this  play  has  not  perhaps  the  massive  breadth 
of  feeling  and  overpowering  interest  of  the  four  great 
tragedies,  Macbeth,  Hamlet,  Lear,  and  Othello ;  but  it  is 
greater  even  than  Macbeth  and  Othello  in  the  range  of  its 
mastery  over  the  fluctuations  of  profound  passion :  it  is 
the  greatest  of  Shakespeare's  plays  in  the  dramatist's 
greatest  faculty.  The  conflict  of  motives  in  Hamlet  is  an 
achievement  of  genius  that  must  always  be  regarded  with 
wonder  and  reverence;  but,  to  my  mind,  Antony  and 
Cleopatra  is  the  dramatist's  masterpiece.  One  may  have 
less  interest  in  the  final  end  of  the  subtle  changes  wrought 
in  the  hero  and  heroine:  but  in  the  pursuit  and  certain 
grasp  of  those  changes,  Shakespeare's  dramatic  genius  ap- 
pears at  its  supreme  height. 

MiNTo:  Characteristics  of  English  Poets. 

On  Antony  and  Cleopatra  Shakspere  has  poured  out  the 
glory  of  his  genius  in  profusion,  and  makes  us  stand  by, 
saddened  and  distressed,  as  the  noble  Antony  sinks  to  his 
ruin,  under  the  gorgeous  colouring  of  the  Eastern  sky, 
the  vicious  splendour  of  the  Egyptian  queen ;  makes  us 
look  with  admiring  hate  on  the  wonderful  picture  he  has 
drawn,  certainly  far  the  most  wonderful  study  of  woman 


ANTONY  AND  CLEOPATRA  Comments 

he  has  left  us,  of  that  Cleopatra  of  whom  Enobarbus,  who 
knew  her  every  turn,  said, — 

"Age  cannot  wither  her,  nor  custom  stale 
Her  infinite  variety ;  other  women 
Cloy  the  appetites  they  feed,  but  she  makes  hungry 
Where  most  she  satisfies." 

That  in  her,  the  dark  woman  of  Shakspere's  Sonnets,  his 
own  fickle,  serpent-like,  attractive  mistress,  is  to  some  ex- 
tent embodied,  I  do  not  doubt.  What  a  superbly  sumptu- 
ous picture,  as  if  painted  by  Veronese  or  Titian,  is  that 
where  Cleopatra  first  met  Antony  upon  the  river  of  Cyd- 
nus  !  How  admirably  transferred  from  Plutarch's  prose ! 
And  how  that  fatal  inability  to  say  "  No  "  to  woman  shows 
us  Antony's  weakness  and  the  cause  of  his  final  fall. 

Furnivall:  The  Leopold  Shakspere. 


19 


DRAMATIS  PERSONAE. 


-  friends  to  Antony. 


Antony, 

OcTAvius  C5:sAR,  \  tnumvfrs. 

Lepidus, 

Sextus  Pompeius. 

DOMTTIUS    EnOBARBUS, 

Ventidius, 
Eros, 

SCARUS, 

Dercetas, 

Demetrius, 

Philo, 

M.ECENAS,        ] 

Agrippa,  j 

dolabella, 

Proculeius, 

Thyreus, 

Gallus, 

Menas,  ■) 

Menecrates,  \  friends  to  Sextus  Pompeius. 

Varrius.  j 

Taurus,  lieutenant-general  to  Caesar. 

Canidius,  lieutenant-general  to  Antony. 

SiLius,  an  oiUcer  in  Ventidius' s  army. 

EuPHRONius,  an  ambassador  from  Antony  to  Ccesar 

A  LEX  AS, 


friends  to  Ccesar. 


Mardtan,  a  eunuch, 
Seleucus, 

DlOMEDES, 

A  Soothsayer. 
A  Clown. 


■  attendants  on  Cleopatra. 


Cleopatra,  queen  of  Egypt. 

Oct  A  VIA,  sister  to  Ccesar,  and  wife  to  Antony. 

Charmian,     )     ..      j      .  r-i     u  ^ 

J  V  attendants  on  Cleopatra. 

Officers,  Soldiers,  Messengers,  and  other  Attendants. 
Scene:    In  several  parts  of  the  Roman  Empire. 


20 


ANTONY  AND  CLEOPATRA. 


ACT  FIRST. 
Scene  I. 

Alexandria.     A   room   in   Cleopatra's  palace. 

Enter  Demetrius  and  Philo. 

Phi.   X^ay,  but  this  dotage  of  oiir  general's 

O'erflows  the  measure :    those  his  goodly  eyes, 

That  o'er  the  files  and  musters  of  the  war 

Have  glow'd  like  plated  Mars,  now  bend,  now  turn, 

The  office  and  devotion  of  their  view 

Upon  a  tawny  front :   his  captain's  heart, 

Which  in  the  scuffles  of  great  fights  hath  burst 

The  buckles  on  his  breast,  reneges  all  temper, 

And  is  become  the  bellows  and  the  fan 

To  cool  a  gipsy's  lust. 

Flourish.     Enter  Antony,  Cleopatra,  her  Ladies,  the  train, 
with  Eunuchs  fa)ining  her. 

Look,  where  they  come  :     lo 
Take  but  good  note,  and  you  shall  see  in  him 
The  triple  pillar  of  the  world  transform'd 
Into  a  strumpet's  fool :  behold  and  see. 
Cleo.   If  it  be  love  indeed,  tell  me  how  much. 
Ant.  There  's  beggary  in  the  love  that  can  be  rcckon'd. 
Cleo.  I  '11  set  a  bourn  how  far  to  be  beloved. 
Ant.  Then  must  thou  needs  find  out  new  heaven,  new 
earth. 

21 


Act  I.  Sc.  i.  ANTONY  AND  CLEOPATRA 

Enter  an  Attendant. 

Att.  News,  my  good  lord,  from  Rome. 

Ant.  Grates  me  :   the  simi. 

Cleo.  Nay,  hear  them,  Antony : 

Fulvia  perchance  is  angry ;   or,  who  knows  20 

If  the  scarce-bearded  Caesar  have  not  sent 
His  powerful  mandate  to  you,  '  Do  this,  or  this  ; 
Take  in  that  kingdom,  and  enfranchise  that ; 
Perform  't,  or  else  we  damn  thee.' 

Ant.  How,  my  love! 

Cleo.  Perchance !   nay,  and  most  like : 

You  must  not  stay  here  longer,  your  dismission 
Is  come  from  Caesar  ;  therefore  hear  it,  Antony. 
Where  's   Fulvia's  process  ?     Caesar's   I   would  sav  ? 

both  ? 
Call  in  the  messengers.     As  I  am  Egypt's  queen. 
Thou  blushest,  Antony,  and  that  blood  of  thine        30 
Is  Caesar's  homager :   else  so  thy  cheek  pays  shame 
When  shrill-tongued  Fulvia  scolds.    The  messengers  ! 

Ant.  Let  Rome  in  Tiber  melt,  and  the  wide  arch 
Of  the  ranged  empire  fall !     Here  is  my  space. 
Kingdoms  are  clay :   our  dungy  earth  alike 
Feeds  beast  as  man  :   the  nobleness  of  life 
Is  to  do  thus  ;    when  such  a  mutual  pair 

[Embracing. 
And  such  a  twain  can  do  't,  in  which  I  bind. 
On  pain  of  punishment,  the  world  to  weet 
We  stand  up  peerless, 

Cleo.  Excellent  falsehood !  40 

W'hy  did  he  marry  Fulvia,  and  not  love  her? 
I  '11  seem  the  fool  I  am  not ;   Antony 
Will  be  himself. 

22  4 


ANTONY  AND  CLEOPATRA  Act  I.  Sc.  ii. 

^fif^  But  stirr'd  by  Cleopatra. 

Now,  for  the  love  of  Love  and  her  soft  hours, 
Let 's  not  confound  the  time  with  conference  harsh  : 
There  's  not  a  minute  of  our  lives  should  stretch 
Without  some  pleasure  now.    What  sport  to-night  ? 
Cleo.  Hear  the  ambassadors. 

^-int.  Fie,  wrangling  queen  ! 

Whom  every  thing  becomes,  to  chide,  to  laugh. 
To  weep  ;   wdiose  every  passion  fully  strives  50 

To  make  itself,  in  thee,  fair  and  admired  ! 
No  messenger  but  thine  ;  and  all  alone 
To-night  we  '11  wander  through  the  streets  and  note 
The  qualities  of  people.     Come,  my  queen  ; 
Last  night  you  did  desire  it.     Speak  not  to  us. 

[Exeunt  Ant.  and  Clco.  zvith  their  train. 
Dem.  Is  Caesar  with  Antonius  prized  so  slight? 
Phi.  Sir,  sometimes,  when  he  is  not  Antony, 
He  comes  too  short  of  that  great  property 
Which  still  should  go  with  Antony. 
bem.  I  ^^  ^^^^  sorry 

That  he  approves  the  common  liar,  who  60 

Thus  speaks  of  him  at  Rome :  but  I  will  hope 
Of  better  deeds  to-morrow.     Rest  you  happy ! 

[Exeunt. 

Scene  IL 

The  same.     Another  room. 

Enter  Charmian,  Iras,  Alexas,  and  a  Soothsayer. 

Char.  Lord  Alexas,  sweet  Alexas,  most  any  thing 
Alexas,  almost  most  absolute  Alexas,  where 's 
the  soothsayer  that  you  praised  so  to  the  queen  ? 

22> 


Act  I.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

O,  that  I  knew  this  husband,  which,  you  say, 

must  charge  his  horns  with  garlands  ! 
Alex.   Soothsayer! 
Sooth.  Your  will? 

Char.  Is  this  the  man?     Is  't  you,  sir,  that  know  things? 
Sooth.  In  nature's  infinite  book  of  secrecy 

A  little  I  can  read. 
Alex.  Show  him  your  hand.  lo 

Enter  Enobarbus. 

Eno.  Bring  in  the  banquet  quickly  ;  wine  enough 
Cleopatra's  health  to  drink. 

Char.  Good  sir,  give  me  good  fortune. 

Sooth.  I  make  not,  but  foresee. 

C/iar.  Pray  then,  foresee  me  one. 

Sooth.  You  shall  be  yet  far  fairer  than  you  are. 

Char.  He  means  in  flesh. 

Iras.   No,  you  shall  paint  when  you  are  old. 

Char.  Wrinkles  forbid ! 

Alex.  Vex  not  his  prescience  ;  be  attentive.  20 

Char.  Hush! 

SootJi.  You  shall  be  more  beloving  than  beloved. 

Char.  I  had  rather  heat  my  liver  with  drinking. 

Alex.  Xay,  hear  him. 

Char.  Good  now,  some  excellent  fortune !  Let  me 
be  married  to  three  kings  in  a  forenoon,  and 
widow  them  all :  let  me  have  a  child  at  fifty,  to 
whom  Herod  of  Jewry  may  do  homage :  find  me 
to  marry  me  with  Octavius  Caesar,  and  companion 
me  with  my  mistress.  30 

Sooth.  You  shall  outlive  the  ladv  whom  you  serve. 

Char.  O  excellent !  I  love  long  life  better  than  figs. 

24 


ANTONY  AND  CLEOPATRA  Act  I.  Sc.  ii. 

Sooth.  You  have  seen  and  proved  a  fairer  former  fortune 
Than  that  which  is  to  approach. 

Char.  Then  behke  my  children  shall  have  no  names : 
prithee,  how  many  boys  and  wenches  must  I  have? 

Sooth.  If  every  of  your  wishes  had  a  womb, 
And  fertile  every  wish,  a  million. 

Char.  Out,  fool !   I  forgive  thee  for  a  witch. 

Alex.  You  think  none  but  your  sheets  are  privy  to        40 
your  wishes. 

Char.  Xay,  come,  tell  Iras  hers. 

J I  ex.  We  '11  know  all  our  fortunes. 

Ejio.   Mine  and  most  of  our  fortunes  to-night  shall  be 
— drunk  to  bed. 

Iras.  There  's  a  palm  presages  chastity,  if  nothing  else. 

Char.   E'en  as  the  o'erflowing  Xilus  presageth  famine. 

Iras.  Go,  you  wild  bedfellow,  you  cannot  soothsay. 

Char.   Nay,  if  an  oily  palm  be  not  a  fruitful  prog- 
nostication. I  cannot  scratch  mine  ear.     Prithee,     5,0 
tell  her  but  a  worky-day  fortune. 

Sooth.  Your  fortunes  are  alike. 

Iras.   But  how,  but  how  ?  give  r.:e  particulars. 

SoctJi.  I  have  said. 

Iras.  Am  I  not  an  inch  of  fortune  better  than  she  ? 

Char.  Well,  if  you  were  but  an  inch  of  fortune  better 
than  I,  where  would  you  choose  it? 

Iras.  Not  in  my  husband's  nose. 

Char.  Our  worser  thoughts  heavens  mend !    Alexas, 

— come,  his  fortune,  his  fortune!     O,  let  him     60 
marry  a  woman  that  cannot  go,  sweet  Isis,   I 
beseech  thee !   and  let  her  die  too,  and  give  him 
a  worse !    and  let  worse  follow  worse,  till  the 
worst  of  all  follow  him  laughing  to  his  grave, 

25 


Act  I.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

fifty-fold  a  cuckold  !  Good  Isis,  hear  me  this 
prayer,  though  thou  deny  me  a  matter  of  more 
weight ;  good  Isis.  1  beseech  thee  ! 

Iras.  Amen.  Dear  goddess,  hear  that  prayer  of  the 
people!  for,  as  it  is  a  heart-breaking  to  see  a 
handsome  man  loose-wived,  so  it  is  a  deadly  70 
sorrow  to  behold  a  foul  knave  uncuckolded : 
therefore,  dear  Isis,  keep  decorum,  and  fortune 
him  accordingly ! 

Char.  Amen. 

Alex.  Lo,  now,  if  it  lay  in  their  hands  to  make  me 
a  cuckold,  they  would  make  themselves  whores, 
but  they  'Id  do  't ! 

Rno.  Hush  !  here  comes  Antony. 

Char.  Not  he  ;  the  queen. 

Enter  Cleopatra. 

Cleo.  Saw  you  my  lord? 
Eno.  No,  lady. 
Cleo.  Was  he  not  here  ? 
Char.  No,  madam. 

Cleo.  He  was  disposed  to  mirth ;  but  on  the  sudden 
A  Roman  thought  hath  struck  him.    Enobarbus  ! 
Eno.  Madam? 

Cleo.  Seek  him,  and  bring  him  hither.    Where  's  Alexas  ? 
Alex.  Here,  at  your  service.     My  lord  approaches. 
Cleo.  We  will  not  look  upon  him  :  go  with  us.      [Exeunt. 

Enter  Antony  with  a  Messenger  and  Attendants. 

Mess.  Fulvia  thy  wife  first  came  into  the  field. 

Ant.  Against  my  brother  Lucius  ?  90 

Mess.  Ay: 

26 


ANTONY  AND  CLEOPATRA  Act  I.  Sc.  ii. 

But  soon  that  war  had  end,  and  the  time's  state 
Made  friends  of  them,  jointingtheir  force  'gainst  Caesar, 
Whose  better  issue  in  the  war  from  Italy 
Upon  the  first  encounter  drave  them. 

Ant  Well,  what  worst  ? 

Mess.  The  nature  of  bad  news  infects  the  teller. 

A  lit.  When  it  concerns  the  fool,  or  coward.     On : 

Things  that  are  past  are  done  with  me.     'Tis  thus  ; 
Who  tells  me  true,  though  in  his  tale  lie  death, 
I  hear  him  as  he  flatter'd. 

Mess.  Labienus —  loo 

This  is  stiff  news — hath  with  his  Parthian  force 
Extended  Asia  from  Euphrates, 
His  conquering  banner  shook  from  Syria 
To  Lydia  and  to  Ionia, 
Whilst— 

Anf.  Antony,  thou  wouldst  say, — 

Mess.  O,  my  lord ! 

Ant.  Speak  to  me  home,  mince  not  the  general  tongue : 
Name  Cleopatra  as  she  is  call'd  in  Rome ; 
Rail  thou  in  Fulvia's  phrase,  and  taunt  my  faults 
With  such  full  license  as  both  truth  and  malice       109 
Have  power  to  utter.    O,  then  we  bring  forth  weeds 
When  our  quick  minds  lie  still,  and  our  ills  told  us 
Is  as  our  earing.    Fare  thee  well  awhile. 

Mess.  At  your  noble  pleasure.  [Exit. 

Ant.  From  Sicyon,  ho,  the  news!     Speak  there! 

First  Att.  The  man  from  Sicyon,  is  there  such  an  one? 

Sec.  Att.  He  stays  upon  your  will. 

Ant.  Let  him  appear. 

These  strong  Egyptian  fetters  I  must  break, 
Or  lose  myself  in  dotage, 

27 


Act  I.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Enter  another  Messenger. 

What  are  you  ? 

Sec.  Mess.  Fulvia  thy  wife  is  dead. 

Ant.  Where  died  she  ? 

Sec.  Ad  ess.  In  Sicyon  :  120 

Her  length  of  sickness,  with  what  else  more  serious 
Importeth  thee  to  know,  this  bears.      [Gives  a  letter. 

Ant.  Forbear  me. 

[Exit  Sec.  Messenger. 
There  's  a  great  spirit  gone !     Thus  did  I  desire  it : 
What  our  contempts  do  often  hurl  from  us. 
We  wish  it  ours  again  ;  the  present  pleasure. 
By  revolution  lowering,  does  become 
The  opposite  of  itself :  she  's  good,  being  gone  ; 
The  hand  could  pluck  her  back  that  shoved  her  on. 
I  must  from  this  enchanting  queen  break  off: 
Ten  thousand  harms,  more  than  the  ills  I  know,     130 
My  idleness  doth  hatch.    How  now  !  Enobarbus  ! 

Re-enter  Enobarbus. 

Eno.  What 's  your  pleasure,  sir  ? 

Ant.  I  must  with  haste  from  hence. 

Eno.  Why  then  we  kill  all  our  women.  We  see  how 
mortal  an  unkindness  is  to  them ;  if  they  suffer 
our  departure,  death  's  the  word. 

Ant.  I  must  be  gone. 

Eno.  Under  a  compelling  occasion  let  women  die: 
it  were  pity  to  cast  them  away  for  nothing ; 
though,  between  them  and  a  great  cause,  they  140 
should  be  esteemed  nothing.  Cleopatra,  catch- 
ing but  the  least  noise  of  this,  dies  instantly; 
I  have  seen  her  die  twenty  times  upon  far  poorer 


ANTONY  AND  CLEOPATRA  Act  L  Sc.  ii. 

moment:  I  do  think  there  is  mettle  in  death, 
which  commits  some  loving  act  upon  her,  she 
hath  such  a  celerity  in  dying. 

.Int.   She  is  cunning  past  man's  thought. 

Eno.  Alack,  sir,  no  ;  her  passions  are  made  of  nothing 
but  the  finest  part  of  pure  love :  we  cannot  call 
her  winds  and  waters  sighs  and  tears;  they  are  150 
greater  storms  and  tempests  than  almanacs  can 
report :  this  cannot  be  cunning  in  her ;  if  it  be, 
she  makes  a  shower  of  rain  as  well  as  Jove. 

Ant,  Would  I  had  never  seen  her ! 

Eno.  O,  sir,  vou  had  then  left  unseen  a  wonderful 
piece  of 'work;  which  not  to  have  been  blest 
withal  would  have  discredited  your  travel. 

Ant.  Fulvia  is  dead. 

Eno.  Sir?  . 

Ant.  Fulvia  is  dead.  ^^ 

Eno.  Fulvia! 

Ant.  Dead.  ,      ,  r  1  -n 

Eno.  Why,  sir,  give  the  gods  a  thankful  sacrihce. 
When  it  pleaseth  their  deities  to  take  the  wife  of 
a  man  from  him,  it  shows  to  man  the  tailors  of 
the  earth,  comforting  therein, that  when  old  robes 
are  worn  out  there  are  members  to  make  new. 
If  there  were  no  more  women  but  Fulvia,  then 
had  vou  indeed  a  cut,  and  the  case  to  be  lamented  : 
this  grief  is  crowned  with  consolation;  your  old  170 
smock  brings  forth  a  new  petticoat :  and  indeed  the 
tearsliveinan  onion  that  should  water  this  sorrow. 
Ant.  The  business  she  hath  broached  in  the  state 

cannot  endure  my  absence. 
Eno.  And  the  business  you  have  broached  here  cannot 

20 


Act  I.  Sc.  iii.  ANTONY  AND  CLEOPATRA 

be  without  you ;    especially  that  of  Cleopatra's, 
which  wholly  depends  on  your  abode. 
AnL  No  more  light  answers.     Let  our  officers 
Have  notice  what  we  purpose.    I  shall  break 
The  cause  of  our  expedience  to  the  queen  i8o 

And  get  her  leave  to  part.     For  not  alone 
The  death  of  Fulvia,  with  more  urgent  touches, 
Do  strongly  speak  to  us,  but  the  letters  too 
Of  many  our  contriving  friends  in  Rome 
Petition  us  at  home ;    Sextus  Pompeius 
Hath  given  the  dare  to  Caesar  and  commands 
The  empire  of  the  sea :  our  slippery  people, 
Whose  love  is  never  link'd  to  the  deserver 
Till  his  deserts  are  past,  begin  to  throw 
Pompey  the  Great  and  all  his  dignities  190 

Upon  his  son ;  who,  high  in  name  and  power. 
Higher  than  both  in  blood  and  life,  stands  up 
For  the  main  soldier :   whose  quality,  going  on. 
The  sides  o'  the  world  may  danger.   Much  is  breeding. 
Which,  like  the  courser's  hair,  hath  yet  but  life 
And  not  a  serpent's  poison.     Say,  our  pleasure. 
To  such  whose  place  is  under  us,  requires 
Our  quick  remove  from  hence. 

Eno.  I  shall  do 't.  [Exeunt. 

Scene  IIL 

The  same.    Another  room. 

Enter  Cleopatra,  Charmian,  Iras,  and  Alexas. 

Cleo.  Where  is  he? 

Char.  I  did  not  see  him  since. 

Clco.  See  where  he  is,  who  's  with  him,  what  he  does : 

30 


ANTONY  AND  CLEOPATRA  Act  I.  Sc.  iii. 

I  did  not  send  you:   if  you  find  him  sad, 

Say  I  am  dancing ;   if  in  mirth,  report 

That  I  am  sudden  sick:   quick,  and  return. 

[Exit  Alex  as. 
Char.  Madam,  methinks,  if  you  did  love  him  dearly, 

You  do  not  hold  the  method  to  enforce 

The  like  from  him. 
Clco.  What  should  I  do,  I  do  not? 

Char.  In  each  thing  give  him  way,  cross  him  in  nothing. 
Clco.  Thou  teachest  like  a  fool :  the  way  to  lose  him.  lo 
Char.  Tempt  him  not  so  too  far;   I  wish,  forbear: 

In  time  we  hate  that  which  we  often  fear. 

But  here  comes  Antony. 

Enter  Antony. 

Cleo.  I  am  sick  and  sullen. 

Ant.  I  am  sorry  to  give  breathing  to  my  purpose, — 
Cleo.  Help  me  away,  dear  Charmian;  I  shall  fall: 

It  cannot  be  thus  long,  the  sides  of  nature 

Will  not  sustain  it. 
Ant.  Now,  my  dearest  queen, — 

Clco.  Pray  you,  stand  farther  from  me. 
Ant.  What 's  the  matter? 

Cko.  I  know,  by  that  same  eye,  there  's  some  good  news. 

What  says  the  married  woman?     You  may  go:     20 

Would  she  had  never  given  you  leave  to  come! 

Let  her  not  say  'tis  I  that  keep  you  here, 

I  have  no  power  upon  you;  hers  you  are. 
Ant.  The  gods  best  know — 
Cleo.  O,  never  was  there  queen 

So  mightily  betray'd!   yet  at  the  first 

I  saw  the  treasons  planted. 

31 


Act  I.  Sc.  iii.  ANTONY  AND  CLEOPATRA 

Ant.  Cleopatra, — 

Cleo.  Why  should  I  think  you  can  be  mine  and  true. 
Though  you  in  swearing  shake  the  throned  gods, 
Who  have  been  false  to  Fulvia?     Riotous  madness, 
To  be  entangled  with  those  mouth-made  vows,      3c 
Which  break  themselves  in  swearing! 

Ajit.  ]\Iost  sweet  queen, — 

Cleo.  Xay,  pray  you,  seek  no  colour  for  your  going. 
But  bid  farewell,  and  go:  when  you  sued  staying, 
Then  was  the  time  for  words:   no  going  then; 
Eternity  was  in  our  lips  and  eyes. 
Bliss  in  our  brows'  bent,  none  our  parts  so  poor 
But  was  a  race  of  heaven :   they  are  so  still. 
Or  thou,  the  greatest  soldier  of  the  world. 
Art  turn'd  the  greatest  liar. 

Ant.  How  now,  lady! 

CIco.  I  would  I  had  thy  inches;  thou  shouldst  know     40 
There  were  a  heart  in  Egypt. 

Ant.  Hear  me,  queen: 

The  strong  necessity  of  time  commands 
Our  services  awhile;   but  my  full  heart 
Remains  in  use  with  you.     Our  Italy 
Shines  o'er  with  civil  swords:   Sextus  Pompeius 
Makes  his  approaches  to  the  port  of  Rome: 
Equality  of  two  domestic  powers 
Breed  scrupulous  faction  :  the  hated,  grown  to  strength. 
Are  newly  grown  to  love:   the  condemned  Pompey, 
Rich  in  his  father's  honour,  creeps  apace  50 

Into  the  hearts  of  such  as  have  not  thrived 
Upon  the  present  state,  whose  numbers  threaten; 
And  quietness  grown  sick  of  rest  would  purge 
By  any  desperate  change.     My  more  particular, 

32 


ANTONY  AND  CLEOPATRA  Act  I.  Sc.  iii. 

And  that  which  most  with  you  should  safe  my  going, 
Is  Fulvia's  death. 

Clco.  Though  age  from  folly  could  not  give  me  freedom, 
It  does  from  childishness :   can  Fulvia  die  ? 

Ant.  She  's  dead,  my  queen: 

Look  here,  and  at  thy  sovereign  leisure  read  60 

The  garboils  she  awaked:   at  the  last,  best; 
See  when  and  where  she  died. 

Cleo.  O  most  false  love! 

Where  be  the  sacred  vials  thou  shouldst  fill 
With  sorrowful  water?     Now  I  see,  I  see, 
In  Fulvia's  death,  how  mine  received  shall  be. 

Ant.  Quarrel  no  more,  but  be  prepared  to  know 
The  purposes  I  bear,  which  are,  or  cease. 
As  you  shall  give  the  advice.     By  the  fire 
That  quickens  Nilus'  slime,  I  go  from  hence 
Thy  soldier,  servant,  making  peace  or  war  70 

As  thou  afTect'st. 

Clco.  Cut  my  lace,  Charmian,  come  ; 

But  let  it  be:   I  am  quickly  ill  and  well. 
So  Antony  loves. 

Ant.  My  precious  queen,  forbear; 

And  give  true  evidence  to  his  love,  which  stands 
An  honourable  trial. 

Clco.  So  Fulvia  told  me. 

I  prithee,  turn  aside  and  weep  for  her; 
Then  bid  adieu  to  me,  and  say  the  tears 
Belong-  to  Egypt:  good  now,  play  one  scene 
Of  excellent  dissembling,  and  let  it  look 
Like  perfect  honour. 

Ant.  You  '11  heat  my  blood:   no  more.     80 

Cleo.  You  can  do  better  yet ;  but  this  is  meetly. 

33 


Act  I.  Sc.  iii.  ANTONY  AND  CLEOPATRA 

Ant.  Now,  by  my  sword, — 

Cleo.  And  target.     Still  he  mends  ; 

But  this  is  not  the  best.     Look,  prithee,  Charmian, 
How  this  Herculean  Roman  does  become 
The  carriage  of  his  chafe. 

Ant.  I  '11  leave  you,  lady. 

Cleo.  Courteous  lord,  one  word. 

Sir,  you  and  I  must  part,  but  that 's  not  it: 
Sir,  you  and  I  have  loved,  but  there  's  not  it: 
That  you  know^  well :   something  it  is  I  would, — 
O,  my  oblivion  is  a  very  Antony,  90 

And  I  am  all  forgotten. 

Ant.  But  that  your  royalty 

Holds  idleness  your  subject,  I  should  take  you 
For  idleness  itself. 

Cleo.  'Tis  sweating  labour 

To  bear  such  idleness  so  near  the  heart 
As  Cleopatra  this.     But,  sir,  forgive  me, 
Since  my  becomings  kill  me  when  they  do  not 
Eye  well  to  you.     Your  honour  calls  you  hence; 
Therefore  be  deaf  to  my  unpitied  folly, 
And  all  the  gods  go  with  you!     Upon  your  sword 
Sit  laurel  victory!   and  smooth  success  100 

Be  strew'd  before  your  feet! 

Ant.  Let  us  go.     Come; 

Our  separation  so  abides  and  flies, 
That  thou  residing  here  go'st  yet  with  me, 
And  I  hence  fleeting  here  remain  with  thee. 
Away!  [Exeunt. 


ANTONY  AND  CLEOPATRA  Act  I.  Sc.  iv. 

Scene  IV. 

Rome.     Ccusar's  house. 

Enter  Octaz'ius  Cccsar,  reading  a  letter^  Lepidus,  and 
their  train. 

Cccs.  You  may  see,  Lepidus,  and  henceforth  know, 
It  is  not  Caesar's  natural  vice  to  hate 
Our  great  competitor:  from  Alexandria 
This  is  the  news:   he  fishes,  drinks  and  wastes 
The  lamps  of  night  in  revel :  is  not  more  manlike 
Than  Cleopatra,  nor  the  queen  of  Ptolemy 
More  womaaly  than  he:    hardly  gave  audience,  or 
Vouchsafed  to  think  he  had  partners:  you  shall  find 

there 
A  man  who  is  the  abstract  of  all  faults 
That  all  men  follow. 

Lcp.  I  must  not  think  there  are        lo 

Evils  enow  to  darken  all  his  goodness : 
His  faults  in  him  seem  as  the  spots  of  heaven, 
More  fiery  by  night's  blackness,  hereditary 
Rather  than  purchased,  what  he  cannot  change 
Than  what  he  chooses. 

Cccs.  You  are  too  indulgent.     Let  us  grant  it  is  not 
Amiss  to  tumble  on  the  bed  of  Ptolemy, 
To  give  a  kingdom  for  a  mirth,  to  sit 
And  keep  the  turn  of  tippling  with  a  slave. 
To  reel  the  streets  at  noon  and  stand  the  buffet     20 
With  knaves  that  smell  of  sweat:   say  this  becomes 

him, — 
As  his  composure  must  be  rare  indeed 
Whom  these  things  cannot  blemish, — yet  must  Antony 
No  way  excuse  his  soils,  when  we  do  bear 

35 


Act  I.  Sc.  iv.  ANTONY  AND  CLEOPATRA 

So  great  weight  in  his  lightness.    If  he  nll'd 
His  vacancy  with  his  voluptuousness, 
Full  surfeits  and  the  dryness  of  his  bones 
Call  on  him  for  't :   but  to  confound  such  time 
That  drums  him  from  his  sport  and  speaks  as  loud 
As  his  own  state  and  ours,  'tis  to  be  chid  30 

As  we  rate  boys,  who,  being  mature  in  knowledge, 
Pawn  their  experience  to  their  present  pleasure, 
And  so  rebel  to  judgement. 

Enter  a  Messenger. 

Lep.  Here  's.  more  news. 

Mess.  Thy  biddings  have  been  done ;   and  every  hour, 
Most  noble  Caesar,  shalt  thou  have  report 
How  'tis  abroad.     Pompey  is  strong  at  sea; 
And  it  appears  he  is  beloved  of  those 
That  only  have  f  ^ar'd  Caesar :   to  the  ports 
The  discontents  repair,  and  men's  reports 
Give  him  much  wrong' d. 

Ccos.  I  should  have  known  no  less  :     40 

It  had  been  taught  us  from  the  primal  state, 
That  he  which  is  was  wish'd  until  he  were ; 
And  the  ebb'd  man,  ne'er  loved  till  ne'er  worth  love 
Comes  dear'd  by  being  lack'd.     This  common  body, 
Like  to  a  vagabond  flag  upon  the  stream, 
Goes  to  and  back,  lackeying  the  varying  tide, 
To  rot  itself  with  motion. 

Mess.  Caesar,  I  bring  thee  word, 

Menecrates  and  Menas,  famous  pirates, 
Make  the  sea  serve  them,  which  they  ear  and  wound 
With  keels  of  every  kind  :    manv  hot  inroads  50 

They  make  in  Italy ;  the  borders  maritime 
.?6 


ANTONY  AND  CLEOPATRA  Act  1.  Sc.  iv. 

Lack  blocd  to  tl.ink  en  t,  and  flush  youth  revolt: 
No  vessel  can  peep  forth,  but  'tis  as  soon 
Taken  as  seen  ;    for  Pompey's  name  strikes  more 
Than  could  his  war  resisted. 
Ccus.  Antony, 

Leave  thy  lascivious  wassails.     When  thou  once 

Wast  beaten  from  Modena,  where  thou  slew'st 

Hirtius  and  Pansa,  consuls,  at  thy  heel 

Did  famine  follow  ;  whom  thou  fought' st  against, 

Though  daintily  brought  up,  with  patience  more    60 

Than  savages  could  suffer :  thou  didst  drink 

The  stale  of  horses  and  the  gilded  puddle 

Which  beasts  would  cough  at :    thy  palate  then  did 

deign 
The  roughest  berry  on  the  rudest  hedge ; 
Yea,  like  the  stag,  when  snow  the  pasture  sheets. 
The' barks  of  trees  thou  browsedst.     On  the  Alps 
It  is  reported  thou  didst  eat  strange  flesh. 
Which  some  did  die  to  look  on :   and  all  this — 
It  wounds  thine  honour  that  I  speak  it  now — 
Was  borne  so  like  a  soldier  that  thy  cheek  70 

So  much  as  lank'd  not. 
Lep.  'Tis  pity  of  him. 

Ccrs.  Let  his  shames  quickly 

Drive  him  to  Rome :   'tis  time  we  twain 
Did  show  ourselves  i'  the  field ;  and  to  that  end 
Assemble  we  immediate  council :    Pompey 
Thrives  in  our  idleness. 
j^^p^  To-morrow,  Caesar, 

I  shall  be  furnish'd  to  inform  you  rightly 
Both  what  by  sea  and  land  I  can  be  able 
To  front  this  present  time. 
(^^^^  Till  which  encounter, 

37 


Act  I.  Sc.  V.  ANTONY  AND  CLEOPATRA 

It  is  my  business  too.     Farewell.  80 

Lcp.  Farewell,  my  lord:    what  you  shall  know  meantime 

Of  stirs  abroad,  I  shall  beseech  you,  sir, 

To  let  me  be  partaker. 
C(cs.  Doubt  not,  sir; 

I  knew  it  for  my  bond.  [Exeunt. 

Scene  V. 

'Alexandria.     Cleopatra's   palace. 

Enter  Cleopatra,  Charmian,  Iras,  and  Mardian. 

Cleo.  Charmian ! 
Char.  Madam? 
Cleo.  Ha,  ha! 

Give  me  to  drink  mandragora. 
Char.  Why,  madam? 

Cleo.  That  I  might  sleep  out  this  great  gap  of  time 

My  Antony  is  away. 
Char.  You  think  of  him  too  much. 

Cleo.  O,  'tis  treason ! 

Char.  ]\Iadam,  I  trust,  not  so. 

Cleo.  Thou,  eunuch  Mardian ! 

Mar.  What 's  your  highness'  pleasure  ? 

Cleo.  Not  now  to  hear  thee  sing ;   I  take  no  pleasure 

In  aught  an  eunuch  has:  'tis  well  for  thee,  10 

That,  being  unseminar'd,  thy  freer  thoughts 

May  not  fly  forth  of  Egypt.     Hast  thou  affections  ? 
Mar.  Yes,  gracious  madam. 
Cleo,  Indeed! 
Mar.  Not  in  deed,  madam ;   for  I  can  do  nothing 

But  what  indeed  is  honest  to  be  done : 

Yet  have  I  fierce  affections,  and  think 

38 


ANTONY  AND  CLEOPATRA  Act  I.  Sc.  v. 

What  Venus  did  with  Mars. 
CI  CO.  O  Charmian, 

Where  think'st  thou  he  is  now?     Stands  he,  or  sits 

he? 
Or  does  he  walk?   or  is  he  on  his  horse?  20 

O  happy  horse,  to  bear  the  weight  of  Antony ! 
Do    bravely,    horse!    for    wot'st    thou    whom    thou 

movest  ? 
The  demi-Atlas  of  this  earth,  the  arm 
And  burgonet  of  men.     He  's  speaking  now, 
Or  murmuring,  '  Where  's  my  serpent  of  old  Nile  ?  ' 
For  so  he  calls  me :   now  I  feed  myself 
With  most  delicious  poison.     Think  on  me, 
That  am  with  Phoebus'  amorous  pinches  black 
And  wrinkled  deep  in  time?      Broad-fronted  Caesar, 
When  thou  wast  here  above  the  ground,  I  was         30 
A  morsel  for  a  monarch  :  and  great  Pompey 
Would  stand  and  make  his  eyes  grow  in  my  brow ; 
There  would  he  anchor  his  aspect  and  die 
With  looking  on  his  life. 

Enter  Alcxas. 

Alex.  Sovereign  of  Egypt,  hail! 

Cleo.  How  much  unlike  art  thou  ^Nlark  Antony ! 

Yet,  coming  from  him,  that  great  medicine  hath 

With  his  tinct  gilded  thee. 

How  goes  it  with  my  brave  Mark  Antony? 
Alex.  Last  thing  he  did,  dear  queen, 

He  kiss'd — the  last  of  many  doubled  kisses —         40 

This  orient  pearl.     His  speech  sticks  in  my  heart. 
Cleo.  Mine  ear  must  pluck  it  thence. 
Alex.  '  Good  friend,'  quoth  he, 

39 


Act  I.  Sc.  V.  ANTONY  AND  CLEOPATRA 

*  Say,  the  firm  Roman  to  great  Egypt  sends 

This  treasure  of  an  oyster ;   at  whose  foot, 

To  mend  the  petty  present,  I  will  piece 

Her  opulent  throne  with  kingdoms ;   all  the  east, 

Say  thou,  shall  call  her  mistress.'     So  he  nodded. 

And  soberly  did  mount  an  arm-gaunt  steed, 

Who  neigh'd  so  high,  that  what  I  would  have  spoke 

Was  beastly  dumb'd  by  him. 

CIco.  Wliat,  was  he  sad  or  merry?     50 

A  lev.  Like  to  the  time  o'  the  year  between  the  extremes 
Of  hot  and  cold,  he  w^as  nor  sad  nor  merry. 

Cleo.  O'well  divided  disposition!     Note  him, 

Note  him,  good  Charmian,   'tis  the  man ;    but  note 

him : 
He  was  not  sad,  for  he  would  shine  on  those 
That  make  their  looks  by  his ;   he  was  not  merry, 
Which  seem'd  to  tell  them  his  remembrance  lay 
In  Egypt  with  his  joy  ;    but  between  both. 
O  heavenly  mingle !    Be'st  thou  sad  or  merry, 
The  violence  of  either  thee  becomes,  60 

So  does  it  no  man  else.     iMet'st  thou  my  posts  ? 

Alex.  Ay,  madam,  twenty  several  messengers : 
Why  do  you  send  so  thick  ? 

Clco.  Who  's  born  that  day 

When  I  forget  to  send  to  Antony, 
Shall  die  a  beggar.     Ink  and  paper,  Charmian. 
Welcome,  my  good  Alexas.     Did  I,  Charmian, 
Ever  love  Caesar  so? 

CJiar.  O  that  brave  Caesar ! 

Cleo.  Be  choked  with  such  another  emphasis ! 
Say,  the  brave  Antony. 

Char.  The  valiant  Caesar ! 

Cleo.  By  Isis,  I  will  give  thee  bloody  teeth,  70 

40 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  i. 

If  thou  with  Caesar  paragon  again 

My  man  of  men. 
Char.  By  your  most  gracious  pardon, 

I  sing  but  after  you. 
Cleo.  My  salad  days, 

When  I  was  green  in  judgement :   cold  in  blood. 

To  say  as  I  said  then !     But  come,  away ; 

Get  me  ink  and  paper : 

He  shall  have  every  day  a  several  greeting. 

Or  I  '11  unpeople  Egypt.  [Exeunt. 

ACT  SECOND. 
Scene  I. 

Messina.    Pompeys  house. 

Enter  Pompey,  Menecrates,  and  Menas,  in  ivarlike 
manner. 

Pom.  If  the  great  gods  be  just,  they  shall  assist 

The  deeds  of  justest  men. 
Mene.  Know,  worthy  Pompey, 

That  what  they  do  delay,  they  not  deny. 
Pom.  Whiles  we  are  suitors  to  their  throne,  decays 

The  thing  we  sue  for. 
Mene.  We,  ignorant  of  ourselves. 

Beg  often  our  own  harms,  which  the  wise  powers 

Deny  us  for  our  good ;   so  find  we  profit 

By  losing  of  our  prayers. 
Pom.  I  shall  do  well : 

The  people  love  me,  and  the  sea  is  mine ; 

My  powers  are  crescent,  and  my  auguring  hope     lo 

Says  it  will  come  to  the  full.     IMark  Antony 

In  Egypt  sits  at  dinner,  and  will  make 

41 


Act  II.  Sc.  i.  ANTONY  AND  CLEOPATRA 

•      No  wars  without  doors  :   Caesar  gets  money  where 
He  loses  hearts :   Lepidus  flatters  both, 
Of  both  is  flatter'd,  but  he  neither  loves, 
Nor  either  cares  for  him. 

Men.  Csesar  and  Lepidus 

Are  in  the  field :   a  mighty  strength  they  carry. 

Pojn.  Where  have  you  this?  'tis  false. 

Men.  From  Silvius,  sir. 

Pom.  He  dreams :   I  know  they  are  in  Rome  together, 
Looking  for  Antony.     But  all  the  charms  of  love,  20 
Salt  Cleopatra,  soften  thy  waned  lip ! 
Let  witchcraft  join  with  beauty,  lust  with  both! 
Tie  up  the  libertine  in  a  field  of  feasts, 
Keep  his  brain  fuming ;   Epicurean  cooks 
Sharpen  with  cloyless  sauce  his  appetite ; 
That  sleep  and  feeding  may  prorogue  his  honour 
Even  till  a  Lethe'd  dulness ! 

Enter  Varrius. 

How  now,  Varrius! 

]^ar.  This  is  most  certain  that  I  shall  deliver: 
Mark  Antony  is  every  hour  in  Rome 
Expected :   since  he  went  from  Egypt  'tis  30 

A  space  for  farther  travel. 

Pom.  I  could  have  given  less  matter 

A  better  ear.     Menas,  I  did  not  think 
This  amorous  surfeiter  would  have  donn'd  his  helm 
For  such  a  petty  war:    his  soldiership 
Is  twice  the  other  twain  :  but  let  us  rear 
The  higher  our  opinion,  that  our  stirring 
Can  from  the  lap  of  Egypt's  widow  pluck 
The  ne'er-lust-wearied  Antony. 
42 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  ii. 

Men.  I  cannot  hope 

Caesar  and  Antony  shall  well  greet  together : 
His  wife  that 's  dead  did  trespasses  to  Caesar ;       40 
His  brother  warr'd  upon  him ;  although,  I  think, 
Not  moved  by  Antony. 

Pom.  I  know  not,  Menas, 

How  lesser  enmities  may  give  way  to  greater. 
Were  't  not  that  we  stand  up  against  them  all, 
'Twere  pregnant  they  should  square  between  them- 
selves ; 
For  they  have  entertained  cause  enough 
To  draw  their  swords :  but  how  the  fear  of  us 
May  cement  their  divisions  and  bind  up 
The  petty  difference,  we  yet  not  know. 
Be  't  as  our  gods  will  have  't !     It  only  stands         50 
Our  lives  upon  to  use  our  strongest  hands. 
Come,  Menas.  [Exeunt. 

Scene  II. 

Rome.     The  house  of  Lepidus. 
Enter  Eiiobarbus  and  Lepidus. 

Lep.  Good  Enobarbus,  'tis  a  worthy  deed. 

And  shall  become  you  well,  to  entreat  your  captain 

To  soft  and  gentle  speech. 
Eno.  I  shall  entreat  him 

To  answer  like  himself :   if  Ceesar  move  him, 

Let  Antony  look  over  Caesar's  head 

And  speak  as  loud  as  Mars.     By  Jupiter, 

Were  I  the  wearer  of  Antonius'  beard, 

I  would  not  shave  't  to-day. 
Lep.  'Tis  not  a  time 

43 


Act  II.  Sc.  li.  ANTONY  AND  CLEOPATRA 

For  private  stomaching. 
hno.  Every  time 

Serves  for  the  matter  that  is  then  born  in  't.  lo 

Lcp.  But  small  to  g-reater  matters  must  give  way. 
Eno.  Not  if  the  small  come  first. 
Lcp.  Your  speech  is  passion  : 

But,  pray  you,  stir  no  embers  up.     Here  comes 

The  noble  Antony. 

Enter  Antony  and  Ventidius. 
Eno.  And  yonder,  Caesar. 

Enter  Cccsar,  Mcrcenas,  and  Agrippa. 

Ant.  If  we  compose  well  here,  to  Parthia : 
Hark,  Ventidius. 

Cccs.  I  do  not  know, 

Maecenas  ;    ask  Agrippa. 

Lep.  Noble  friends, 

That  which  combined  us  was  most  great,  and  let  not 

A  leaner  action  rend  us.    What 's  amiss, 

May  it  be  gently  heard :    w^hen  we  debate  20 

Our  trivial  difference  loud,  we  do  commit 

Murder  in  healing  wounds :   then,  noble  partners, 

The  rather  for  I  earnestly  beseech. 

Touch  you  the  sourest  points  with  sweetest  terms, 

Nor  curstness  grow  to  the  matter. 

Ant.  'Tis  spoken  well. 

Were  we  before  our  armies  and  to  fight, 
I  should  do  thus.  [Flourish. 

CcBS.  W^elcome  to  Rome. 

Ant.  Thank  you. 

Cces.  Sit. 

44 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  ii. 

Ant.   Sit,  sir. 

Cccs.  Nay,  then. 

Ant.  I  learn,  you  take  things  ill  which  are  not  so, 
Or  being,  concern  you  not. 

Cccs.  I  must  be  laugh'd  at,       30 

If,  or  for  nothing  or  a  little,  I 
Should  say  myself  offended,  and  with  you 
Chiefly  i'  the  world ;  more  laugh'd  at,  that  I  should 
Once  name  you  derogately,  when  to  sound  your  name 
It  not  concern'd  me. 

Ant.  My  being  in  Egypt,  Csesar, 

What  was  't  to  you  ? 

Cces.  No  more  than  my  residing  here  at  Rome 
Might  be  to  you  in  Egypt :  yet,  if  you  there 
Did  practise  on  my  state,  your  being  in  Egypt 
Might  be  my  question. 

Ant.  How  intend  you,  practised?  40 

C(TS.  You  may  be  pleased  to  catch  at  mine  intent 

By  what  did  here  befal  me.     Your  wife  'and  brother 
Made  wars  upon  me,  and  their  contestation 
Was  theme  for  you,  you  were  the  word  of  war. 

Ant.  You  do  mistake  your  business ;    my  brother  never 
Did  urge  me  in  his  act :   I  did  inquire  it. 
And  have  my  learning  from  some  true  reports 
That  drew  their  swords  with  you.    Did  he  not  rather 
Discredit  my  authority  with  yours, 
And  make  the  wars  alike  against  my  stomach,         50 
Having  alike  your  cause  ?  of  this  my  letters 
Before  did  satisfy  you.     If  you  '11  patch  a  quarrel, 
As  matter  whole  you  have  not  to  make  it  with, 
It  must  not  be  with  this. 

Ccrs.  You  praise  yourself 

45 


Act  II.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

By  laying  defects  of  judgement  to  me,  but 
You  patch'd  up  your  excuses. 

Ant.  Not  so,  not  so; 

I  know  you  could  not  lack,  I  am  certain  on  't, 
Very  necessity  of  this  thought,  that  I, 
Your  partner  in  the  cause  'gainst  which  he  fought, 
Could  not  with  graceful  eyes  attend  those  wars      60 
Which  fronted  mine  own  peace.     As  for  my  wife, 
I  would  you  had  her  spirit  in  such  another : 
The  third  o'  the  world  is  yours,  which  with  a  snaffle 
You  may  pace  easy,  but  not  such  a  wife. 

Eno.  Would  we  had  all  such  wives,  that  the  men 
might  go  to  wars  with  the  women ! 

A)if.   So  much  uncurbable,  her  garboils,  Caesar, 

Made  out  of  her  impatience,  which  not  wanted 
Shrewdness  of  policy  too,  I  grieving  grant 
Did  you  too  much  disquiet :   for  that  you  must        70 
But  say,  I  could  not  help  it. 

Ccrs.  '  I  wrote  to  you 

When  rioting  in  Alexandria  ;  you 
Did  pocket  up  my  letters,  and  with  taunts 
Did  gibe  my  missive  out  of  audience. 

Ant.  '  Sir, 

He  fell  upon  me  ere  admitted :   then 
Three  kings  I  had  newly  feasted  and  did  want 
Of  what  I  was  i'  the  morning :   but  next  day 
I  told  him  of  myself,  which  was  as  much 
As  to  have  ask'd  him  pardon.     Let  this  fellow 
Be  nothing  of  our  strife ;  if  we  contend,  80 

Out  of  our  question  wipe  him. 

Cccs.  You  have  broken 

The  article  of  your  oath,  which  you  shall  never 
46 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  li. 

Have  tongue  to  charge  me  with. 

Lep.  Soft,  Csesar! 

Ant.  No,  Lepidus,  let  him  speak  : 

The  honour  is  sacred  which  he  talks  on  now, 
Supposing  that  I  lack'd  it.    But  on,  Csesar ; 
The  article  of  my  oath. 

Cces.  To  lend  me  arms  and  aid  when  I  required  them ; 
The  which  you  both  denied. 

Ant.  Neglected  rather. 

And  then,  when  poison'd  hours  had  bound  me  up    90 
From  mine  own  knowledge.     As  nearly  as  I  may, 
I  '11  play  the  penitent  to  you:  but  mine  honesty 
Shall  not  make  poor  my  greatness,  nor  my  power 
Work  without  it.     Truth  is,  that  Fulvia, 
To  have  me  out  of  Egypt,  made  wars  here ; 
For  which  myself,  the  ignorant  motive,  do 
So  far  ask  pardon  as  befits  mine  honour 
To  stoop  in  such  a  case. 

Lep.  'Tis  noble  spoken. 

Mcec.  If  it  might  please  you,  to  enforce  no  further 

The  griefs  between  ye:    to  forget  them  quite     100 
Were  to  remember  that  the  present  need 
Speaks  to  atone  you. 

Lep.  Worthily  spoken,  ^Maecenas. 

Eno.  Or,  if  you  borrow  one  another's  love  for  the 
instant,  you  may,  when  you  hear  no  more 
words  of  Pompey,  return  it  again :  you  shall 
have  time  to  wrangle  in  when  you  have  nothing 
else  to  do. 

Ant.  Thou  art  a  soldier  only:   speak  no  more. 

Eno.  That  truth  should  be  silent  I  had  almost  forgot. 

Ant.  You  wrong  this  presence;  therefore  speak  no  more. 

47 


Act  II.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Eno.  Goto,  then;  your  considerate  stone.  iii 

Cccs.  I  do  not  much  disUke  the  matter,  but 

The  manner  of  his  speech,  for  't  cannot  be 

We  shall  remain  in  friendship,  our  conditions 

So  differing  in  their  acts.     Yet,  if  I  knew 

What  hoop  should  hold  us  stanch,  from  edge  to  edge 

O'  the  world  I  would  pursue  it. 

Agr.  Give  me  leave,  Cciesar. 

Cces.  Speak,  Agrippa. 

Agr.  Thou  hast  a  sister  by  the  mother's  side, 

Admired  Octavia  :   great  Mark  Antony  120. 

Is  now  a  widower. 

C(PS.  Say  not  so,  Agrippa  : 

If  Cleopatra  heard  you,  your  reproof 
W^ere  well  deserved  of  rashness. 

Ant.  I  am  not  married,  Caesar :   let  me  hear 
Agrippa  further  speak. 

Agr.  To  hold  you  in  perpetual  amity, 

To  make  you  brothers  and  to  knit  your  hearts 

With  an  unslipping  knot,  take  Antony 

Octavia  to  his  wife ;    whose  beauty  claims 

No  worse  a  husband  than  the  best  of  men,  130 

Whose  virtue  and  whose  general  graces  speak 

That  which  none  else  can  utter.    By  this  marriage 

All  little  jealousies  which  now  seem  great, 

And  all  great  fears  which  now  import  their  dangers, 

Would  then  be  nothing :   truths  would  be  tales. 

Where  now  half  tales  be  truths :   her  love  to  both 

Would  each  to  other  and  all  loves  to  both 

Draw  after  her.     Pardon  what  I  have  spoke, 

For  'tis  a  studied,  not  a  present  thought, 

By  duty  ruminated. 

48 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  ii. 

Ant.  Will  Caesar  speak  ?  140 

CcFS.  Not  till  he  hears  how  Antony  is  touch'd 

W^ith  what  is  spoke  already. 
Ant.  What  power  is  in  Agrippa, 

If  I  would  say,  '  Agrippa,  be  it  so/ 

To  make  this  good? 
Cccs.  The  power  of  Caesar,  and 

His  power  unto  Octavia. 
Ant.  May  I  never 

To  this  good  purpose,  that  so  fairly  shows, 

Dream  of  impediment !    Let  me  have  thy  hand  : 

Further  this  act  of  grace ;  and  from  this  hour 

The  heart  of  brothers  govern  in  our  loves 

And  sway  out  great  designs ! 
Cces.  There  is  my  hand.    150 

A  sister  I  bequeath  you,  whom  no  brother 

Did  ever  love  so  dearly :   let  her  live 

To  join  our  kingdoms  and  our  hearts ;  and  never 

Fly  off  our  loves  again ! 
Lep.  Happily,  amen ! 

Ant.  I  did  not  think  to  draw  my  sword  'gainst  Pompey; 

For  he  hath  laid  strange  courtesies  and  great 

Of  late  upon  me :   I  must  thank  him  only, 

Lest  my  remembrance  suffer  ill  report ; 

At  heel  of  that,  defy  him. 
Lep.  Time  calls  upon  's  : 

Of  us  must  Pompey  presently  be  sought,  160 

Or  else  he  seeks  out  us. 
Ant.  Where  lies  he? 

Cces.  About  the  Mount  ^lisenum. 
A7tt.  What 's  his  strength 

By  land  ? 

49 


Act  II.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Ccus.  Great  and  increasing:   but  by  sea 

He  is  an  absolute  master. 
Ant.  So  is  the  fame. 

Would  we  had  spoke  together !    Haste  we  for  it : 

Yet,  ere  we  put  ourselves  in  arms,  dispatch  we 

The  business  we  have  talk'd  of. 
Ccrs.  With  most  gladness  : 

And  do  invite  you  to  my  sister's  view. 

Whither  straight  I'll  lead  you. 
A7tt.  Let  us,  Lepidus,       170 

Not  lack  your  company. 
Lep.  Noble  Antony, 

Not  sickness  should  detain  me. 

[Flourish.     Exeunt  Cccsar,  Antony,  and  Lepidus. 
Merc.  Welcome  from  Egypt,  sir. 
Eno.  Half  the  heart  of  Caesar,  worthy  Maecenas ! 

My  honourable  friend,  Agrippa! 
Agr.  Good  Enobarbus ! 
Merc.  We  have  cause  to  be  glad  that  matters  are 

so    well    digested.     You    stayed    well    by 't    in 

Egypt. 
Eno.  Ay,  sir;  we  did  sleep  day  out  of  countenance,     180 

And  made  the  night  light  with  drinking. 
Merc.  Eight  wild-boars  roasted  whole  at  a  breakfast, 

and  but  twelve  persons  there;   is  this  true? 
Eno.  This  was  but  as  a  fly  by  an  eagle :    we  had 

much  more  monstrous  matter  of  feast,   which 

worthily  deserved  noting. 
Mcec.  She  's  a  most  triumphant  lady,   if  report  be 

square  to  her. 
Eno.  When  she  first  met  Mark  Antony,  she  pursed 

up  his  heart,  upon  the  river  of  Cydnus.  190 

50 


ANTONY  AND  CLEOPATRA  Act  li.  Sc.  ii. 

Agr.  There   she   appeared    indeed,    or   my   reporter 
devised  well  for  her. 

Eno.  I  will  tell  you. 

The  barge  she  sat  in,  like  a  burnish'd  throne, 
Burn'd  on  the  water  :  the  poop  was  beaten  gold  ; 
Purple  the  sails,  and  so  perfumed  that 
The  winds  were  love-sick  with  them ;   the  oars  were 

silver. 
Which  to  the  tune  of  flutes  kept  stroke  and  made 
The  water  which  they  beat  to  follow  faster, 
As  amorous  of  their  strokes.    For  her  own  person, 
It  beggar'd  all  description  :  she  did  lie  201 

In  her  pavilion,  cloth-of-gold  of  tissue, 
O'er-picturing  that  Venus  where  we  see 
-  The  fancy  outwork  nature  :  on  each  side  her 
Stood  pretty  dimpled  boys,  like  smiling  Cupids, 
With  divers-colour'd  fans,  whose  wind  did  seem, 
To  glow  the  delicate  cheeks  wdiich  they  did  cool, 
And  what  they  undid  did. 

Agr.  O,  rare  for  Antony ! 

Eno.  Her  gentlewomen,  like  the  Nereides, 

So  many  mermaids,  tended  her  i'  the  eyes,  210 

And  made  their  bends  adomings  :  at  the  helm 
A  seeming  mermaid  steers :   the  silken  tackle 
Swell  with  the  touches  of  those  flower-soft  hands, 
That  yarely  frame  the  office.     From  the  barge 
A  strange  invisible  perfume  hits  the  sense 
Of  the  adjacent  wharfs.    The  city  cast 
Her  people  out  upon  her ;  and  Antony, 
Enthron'd  i'  the  market-place,  did  sit  alone, 
Whistling  to  the  air ;   which,  but  for  vacancy. 
Had  gone  to  gaze  on  Cleopatra  too,  220 

And  made  a  gap  in  nature, 

51 


Act  II.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Agr.  Rare  Egyptian ! 

Eno.  Upon  her  landing,  Antony  sent  to  her, 

Invited  her  to  supper :  she  repUed, 

It  should  be  better  he  became  her  guest, 
'     Which  she  entreated  :  our  courteous  Antony, 

Whom  ne'er  the  word  of  '  No  '  woman  heard  speak, 

Being  barber'd  ten  times  o'er,  goes  to  the  feast, 

And,  for  his  ordinary,  pays  his  heart 

For  what  his  eyes  eat  only. 
Agr.  Royal  wench ! 

She  made  great  Caesar  lay  his  sword  to  bed :  230 

He  plough'd  her,  and  she  cropp'd. 
Eno.  I  saw  her  once 

Hop  forty  paces  through  the  public  street ; 

And  having  lost  her  breath,  she  spoke,  and  panted, 

That  she  did  make  defect  perfection, 

And,  breathless,  power  breathe  forth. 
Mcec.  Now  Antony  must  leave  her  utterly. 
Eno.  Never ;  he  will  not : 

Age  cannot  wither  her,  nor  custom  stale 

Her  infinite  variety  :   other  women  cloy 

The  appetites  they  feed,  but  she  makes  hungry      240 

Where  most  she  satisfies :  for  vilest  things 

Become  themselves  in  her,  that  the  holy  priests 

Bless  her  when  she  is  riggish. 
McBc.  If  beauty,  wisdom,  modesty,  can  settle 

The  heart  of  Antony,  Octavia  is 

A  blessed  lottery  to  him. 
Agr.  Let  us  go. 

Good  Enobarbus,  make  yourself  my  guest 

Whilst  you  abide  here. 
Eno.  Humbly,  sir,  I  thank  you.      [Exeunt. 

52 


ANTONY  AND  CLEOPATRA         Act  II.  Sc.  iii. 

Scene  III. 

The  same.     Ccesar's  house. 

Enter  Antony,  Cccsar,  Octavia  betzveen  them,  and 
Attendants. 

Ant.  The  world  and  my  great  office  will  sometimes 

Divide  me  from  your  bosom. 
Octa.  All  which  time 

Before  the  gods  my  knee  shall  bow  my  prayers 

To  them  for  you. 
Ant.  Good  night,  sir.     My  Octavia, 

Read  not  my  blemishes  in  the  world's  report : 

I  have  not  kept  my  square ;  but  that  to  come 

Shall  all  be  done  by  the  rule.     Good  night,  dear  lady. 

Good  night,  sir. 
CcBS.  Good  night.  [Exeunt  all  but  Antony. 

Enter  Soothsayer. 

Ant.  Now,  sirrah,  you  do  wish  yourself  in  Egypt?  lo 

S'ootJi.  Would  T  had  never  come  from  thence,  nor  you 
thither ! 

Ant.   If  you  can,  your  reason? 

SootJi.  I  see  it  in 

Aly  motion,  have  it  not  in  my  tongue :   but  yet 
Hie  you  to  Egypt  again. 

Ant.  Say  to  me, 

Whose  fortunes  shall  rise  higher,  Caesar's  or  mine  ? 

Sooth.  Caesar's. 

Therefore,  O  Antony,  stay  not  by  his  side : 
Thy  demon,  that  thy  spirit  which  keeps  thee,  is 
Noble,  courageous,  high,  unmatchable,  20 

Where  Caesar's  is  not ;   but  near  him  thy  angel 
Becomes  a  fear,  as  being  o'erpower'd :    therefore 

53 


Act  11.  Sc.  IV.         ANTONY  AND  CLEOPATRA 

Make  space  enough  between  you. 

A7it.  Speak  this  no  more. 

Sooth.  To  none  but  thee ;   no  more  but  when  to  thee. 
If  thou  dost  play  with  him  at  any  game, 
Thou  art  sure  to  lose ;  and,  of  that  natural  luck, 
He  beats  thee  gainst  the  odds :  thy  lustre  thickens, 
When  he  shines  by :  I  say  again,  thy  spirit 
Is  all  afraid  to  govern  thee  near  him, 
But,  he  away,  'tis  noble. 

Ant.  Get  thee  gone:  30 

Say  to  Ventidius  I  would  speak  with  him. 

[Exit  Soothsayer. 
He  shall  to  Parthia.    Be  it  art  or  hap, 
He  hath  spoken  true :  the  very  dice  obey  him, 
And  in  our  sports  my  better  cunning  faints 
Under  his  chance :  if  w^e  draw  lots,  he  speeds ; . 
His  cocks  do  win  the  battle  still  of  mine 
When  it  is  all  to  nought,  and  his  quails  ever 
Beat  mine,  inhoop'd,  at  odds.     I  will  to  Egypt : 
And  though  I  make  this  marriage  for  my  peace, 
r  the  east  my  pleasure  lies. 

Better  Ventidius. 

O,  come,  Ventidius,       40 
You  must  to  Parthia :   your  commission  's  ready ; 
Follow  me,  and  receive  't.  [Exeunt. 

Scene  IV. 

The  same.    A  street. 

Enter  Lepidus,  Mcecenas,  and  Agrippa. 

Lep.  Trouble  yourselves   no   further :    pray  you,  hasten 
Your  generals  after. 

54 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  v, 

Agr.  Sir,  Mark  Antony 

Will  e'en  but  kiss  Octavia,  and  we  '11  follow. 
Lep.  Till  I  shall  see  you  in  your  soldier's  dress, 

Which  will  become  you  both,  farewell. 
Mcec.  We  shall, 

As  I  conceive  the  journey,  be  at  the  Mount 

Before  you,  Lepidus. 
Lep.  Your  way  is  shorter; 

My  purposes  do  draw  me  much  about : 

You  '11  win  two  days  upon  me. 
Mcuc. 
Agr. 
Lep.  Farewell.  [Exeunt.   lo 


Sir,  good  success ! 


Scene  V. 

Alexandria.    Cleopatra's  palace. 

Enter  Cleopatra,  Charrnhn,  Iras,  and  Alexas. 

Cleo.  Give  me  some  music ;   music,  moody  food 

Of  us  that  trade  in  love. 
All.  The  music,  ho  ! 

Enter  Mardian  the  Eunuch. 

Cleo.  Let  it  alone  ;   let 's  to  billiards  :   come  Charmian. 

Char.  My  arm  is  sore :   best  play  with  Mardian. 

Cleo.  As  well  a  woman  with  an  eunuch  play'd 

As  with  a  woman.     Come,  you  '11  play  with  me,  sir? 

Mar.  As  well  as  I  can,  madam. 

Cleo.  And  when  good  will  is  show'd,  though  't  come  too 
short, 
The  actor  may  plead  pardon.     I  '11  none  now : 
Give  me  mine  angle  ;   we  '11  to  the  river:   there,       lo 

55 


Act  II.  Sc.  V.  ANTONY  AND  CLEOPATRA 

My  music  playing  far  off,  I  will  betray 
Tawny-finn'd  fishes ;   my  bended  hook  shall  pierce 
Their  sHmy  jaws,  and  as  I  draw  them  up, 
I  '11  think  them  every  one  an  Antony, 
And  say  '  Ah,  ha!   you  're  caught.' 

Char.  'Twas  merry  when 

You  wager'd  on  your  angling ;   when  your  diver 
Did  hang  a  salt-fish  on  his  hook,  which  he 
With  fervency  drew  up. 

Clco.  That  time — O  times  ! — 

I  laugh'd  him  out  of  patience,  and  that  night 
I  laugh'd  him  into  patience :   and  next  morn,  20 

Ere  the  ninth  hour,  I  drunk  him  to  his  bed ; 
Then  put  my  tires  and  mantles  on  him,  whilst 
I  wore  his  sword  Philippan. 

Enter  a  Messenger. 

O,  from  Italy ! 
Ram  thou  thy  fruitful  tidings  in  mine  ears. 
That  long  time  have  been  barren. 

Mess.  Madam,  madam, — ■ 

Clco.  Antonius  dead!     If  thou  say  so,  villain. 
Thou  kill'st  thy  mistress :   but  well  and  free. 
If  thou  so  yield  him,  there  is  gold,  and  here 
My  bluest  veins  to  kiss:    a  hand  that  kings 
Have  hpp'd,  and  trembled  kissing.  y) 

Mess.  First,  madam,  he  is  well. 

Cleo.  Why,  there  's  more  gold. 

But,  sirrah,  mark,  we  use 
To  say  the  dead  are  well :   bring  it  to  that. 
The  gold  I  give  thee  will  I  melt  and  pour 
Down  thy  ill-uttering  throat. 

56 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  v. 

Mess.  Good  madam,  hear  me. 

Cleo.  Well,  go  to,  I  will ; 

But  there  's  no  goodness  in  thy  face  :  if  Antony 
Be  free  and  healthful, — so  tart  a  favour 
To  trumpet  such  good  tidings !     If  not  well, 
Thou  shouldst  come  like  a  Fury  crown'd  with  snakes. 
Not  like  a  formal  man. 

Mess.  Will 't  please  you  hear  me?  41 

Cleo.  I  have  a  mind  to  strike  thee  ere  thou  speak'st : 
Yet,  if  thou  say  Antony  lives,  is  well. 
Or  friends  with  Cassar,  or  not  captive  to  him, 
I  '11  set  thee  in  a  shower  of  gold,  and  hail 
Rich  pearls  upon  thee. 

Mess.  T^Iadam,  he  's  well. 

Cleo.  Well  said. 

Mess.  And  friends  with  Caesar. 

Cleo.  Thou  'rt  an  honest  man. 

Mess.  Caesar  and  he  are  greater  friends  than  ever. 

Cleo.  Make  thee  a  fortune  from  me. 

Mess.  But  yet,  madam, — 

Cleo.  I  do  not  like  *  But  yet,'  it  does  allay  50 

The  good  precedence ;  fie  upon  '  But  yet ' ! 
*  But  yet '  is  as  a  gaoler  to  bring  forth 
Some  monstrous  malefactor.     Prithee,  friend, 
Pour  out  the  pack  of  matter  to  mine  ear, 
The  good  and  bad  together :  he  's  friends  with  Caesar. 
In  state  of  health,  thou  say'st,  and  thou  say'st,  free. 

Mess.  Free,  madam  !  no ;  I  made  no  such  report : 
He  's  bound  unto  Octavia. 

Cleo.  For  what  good  turn  ? 

Mess.  For  the  best  turn  i'  the  bed. 

Cleo.  I  am  pale,  Charmian. 

57 


Act  II.  Sc.  V.  ANTONY  AND  CLEOPATRA 

Mess.  Madam,  he  's  married  to  Octavia.  60 

Cleo.  The  most  infectious  pestilence  upon  thee ! 

[Strikes  him  down. 
Mess.  Good  madam,  patience. 
Cleo.  What  say  you  ?    Hence, 

[Strikes  him  again. 

Horrible  villain  !   or  I  '11  spurn  thine  eyes 

Like  balls  before  me ;    I  '11  unhair  thy  head  : 

[She  hales  him  up  and  dozen. 

Thou  shalt  be  whipp'd  with  wire,  and  stew'd  in  brine, 

Smarting  in  lingering  pickle. 
Mess.  Gracious  madam, 

I  that  do  bring  the  news  made  not  the  match. 
Cleo.  Say  'tis  not  so,  a  province  I  will  give  thee 

And  make  thy  fortunes  proud :  the  blow  thou  hadst 

Shall  make  thy  peace  for  moving  me  to  rage,  70 

And  I  will  boot  thee  with  what  gift  beside 

Thy  modesty  can  beg. 
Mess.  He  's  married,  madam. 

Cleo.  Rogue,  thou  hast  lived  too  long.     [Draws  a  knife. 
Mess.  Nay,  then  I  '11  run. 

What  mean  you,  madam  ?  I  have  made  no  fault. 

[Exit. 

Char.  Good  madam,  keep  yourself  within  yourself : 
The  man  is  innocent. 

Cleo.  Some  innocents  'scape  not  the  thunderbolt. 
Melt  Egypt  into  Nile !  and  kindly  creatures 
Turn  all  to  serpents !     Call  the  slave  again : 
Though  I  am  mad,  I  will  not  bite  him  :  call.  80 

Char.  He  is  afeard  to  come. 

Cleo.  I  will  not  hurt  him. 

[Exit  Charmian. 

58 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  v. 

These  hands  do  lack  nobihty,  that  they  strike 
A  meaner  than  myself ;   since  I  myself 
Have  given  myself  the  cause. 

Re-enter  Channiaii  and  Messenger. 

Come  hither,  sir. 
Though  it  be  honest,  it  is  never  good 
To  bring  bad  news  :  give  to  a  gracious  message 
An  host  of  tongues,  but  let  ill  tidings  tell 
Themselves  when  they  be  felt. 

Mess.  I  have  done  my  duty. 

Cleo.  Is  he  married  ? 

I  cannot  hate  thee  worser  than  I  do,  90 

If  thou  again  say  '  Yes.' 

Mess.  He  's  married,  madam. 

Cleo.  The  gods  confound  thee  !   dost  thou  hold  there  still  ? 

Mess.  Should  I  lie,  madam  ? 

Cleo.  O,  I  would  thou  didst, 

So  half  my  Egypt  were  submerged  and  made 
A  cistern  for  scaled  snakes  !   Go  get  thee  hence : 
Hadst  thou  Narcissus  in  thy  face,  to  me 
Thou  wouldst  appear  most  ugly.     He  is  married? 

Mess.  I  crave  your  highness'  pardon. 

Cleo.  He  is  married? 

Mess.  Take  no  offence  that  I  would  not  offend  you  : 

To  punish  me  for  what  you  make  me  do  100 

Seems  much  unequal :  he  's  married  to  Octavia. 

Cleo.  O,  that  his  fault  should  make  a  knave  of  thee, 

That  art  not  what  thou  'rt  sure  of !     Get  thee  hence : 
The  merchandise  which  thou  hast  brought  from  Rome 
Are  all  too  dear  for  me :  lie  they  upon  thy  hand, 
And  be  undone  by  'em !  [Exit  Messenger. 

59 


Act  II.  Sc.  vi.  ANTONY  AND  CLEOPATRA 

Char.  Good  your  highness,  patience. 

Cleo.  In  praising  Antony,  I  have  dispraised  Caesar. 

Char.  Many  times,  madam. 

Cleo.  I  am  paid  for  't  now. 

Lead  me  from  hence ; 

I  faint :  O  Iras,  Charmian  !   'tis  no  matter.  no 

Go  to  the  fellow,  good  Alexas ;   bid  him 
Report  the  feature  of  Octavia,  her  years. 
Her  inclination  ;   let  him  not  leave  out 
The  colour  of  her  hair :   bring  me  word  quickly. 

[Exit  Alexas. 
Let  him  for  ever  go :  let  him  not — Charmian, 
Though  he  be  painted  one  way  like  a  Gorgon, 
The  other  way's  a  Mars.     [To  Mardian]     Bid  you 

Alexas 
Bring  me  word  how  tall  she  is.     Pity  me,  Charmian, 
But  do  not  speak  to  me.     Lead  me  to  my  chamber. 

[Exeunt. 

Scene  VI. 

Near  Miseniim. 

Flourish.  Enter  Pompey  and  Menas  from  one  side,  with 
drum  and  trumpet:  at  another,  Cccsar,  Antony,  Lepi- 
dus,  Enobarbus,  Mcccenas,  with  Soldiers  marching. 

Pom.  Your  hostages  I  have,  so  have  you  mine  ; 

And  we  shall  talk  before  we  fight. 
Cces.  Most  meet 

That  first  we  come  to  words  ;  and  therefore  have  we 

Our  written  purposes  before  us  sent ; 

Which,  if  thou  hast  consider'd,  let  us  know 
60 


ANTONY  AND  CLEOPATRA         Act  II.  Sc.  vi. 

If  'twill  tie  up  thy  discontented  sword 
And  carry  back  to  Sicily  much  tall  youth 
That  else  must  perish  here. 

Pom.  To  you  all  three, 

The  senators  alone  of  this  great  world, 
Chief  factors  for  the  gods,  I  do  not  know  lo 

Wherefore  my  father  should  revengers  want, 
Having  a  son  and  friends  ;  since  Julius  Caesar, 
Who  at  Philippi  the  good  Brutus  ghosted, 
There  saw  you  labouring  for  him.     What  was  't 
That  moved  pale  Cassius  to  conspire,  and  what 
Made  the  all-honour'd  honest  Roman,  Brutus, 
With  the  arm'd  rest,  courtiers  of  beauteous  freedom, 
To  drench  the  Capitol,  but  that  they  would 
Have  one  man  but  a  man?     And  that  is  it 
Hath  made  me  rig  my  navy,  at  whose  burthen        20 
The  anger'd  ocean  foams ;   with  which  I  meant 
To  scourge  the  ingratitude  that  despiteful  Rome 
Cast  on  my  noble  father. 

Cccs.  Take  your  time. 

Ant.  Thou  canst  not  fear  us,  Pompey,  with  thy  sails; 
We  '11  speak  with  thee  at  sea :   at  land,  thou  know'st 
How^  much  we  do  o'ercount  thee. 

Pom.  At  land  indeed 

Thou  dost  o'ercount  me  of  my  father's  house : 
But  since  the  cuckoo  builds  not  for  himself, 
Remain  in  't  as  thou  mayst. 

Lep.  Be  pleased  to  tell  us — 

For  this  is  from  the  present — how^  you  take  30 

The  offers  we  have  sent  you. 

Cccs.  There  's  the  point. 

Ant.   Which  do  not  be  entreated  to,  but  weigh 

61 


Act  II.  Sc.  vi.         ANTONY  AND  CLEOPATRA 

What  it  is  worth  embraced. 

C(FS.  And  what  may  follow, 

To  try  a  larger  fortune. 

Pom.  You  have  made  me  offer 

Of  Sicily,  Sardinia;   and  I  must 
Rid  all  the  sea  of  pirates ;   then,  to  send 
Measures  of  wheat  to  Rome ;   this  'greed  upon. 
To  part  with  unhack'd  edges  and  bear  back 
Our  targes  undinted. 

Cces.  ^ 

Ant.    y  That 's  our  offer. 

Lep.  j 

Pom.  Know  then,     40 

I  came  before  you  here  a  man  prepared 
To  take  this  offer :   but  Mark  Antony 
Put  me  to  some  impatience  :  though  I  lose 
The  praise  of  it  by  telling,  you  must  know. 
When  Caesar  and  your  brother  were  at  blows. 
Your  mother  came  to  Sicily  and  did  find 
Her  welcome  friendly. 

Ant.  I  have  heard  it,  Pompey, 

And  am  well  studied  for  a  liberal  thanks 
Which  I  do  owe  you. 

Pom.  Let  me  have  your  hand: 

I  did  not  think,  sir,  to  have  met  you  here.  50 

Ant.  The  beds  i'  the  east  are  soft :   and  thanks  to  you, 
That  call'd  me  timelier  than  my  purpose  hither; 
For  I  have  gain'd  by  't. 

CcFs.  Since  1  saw  you  last, 

There  is  a  change  upon  you. 

Pom.  Well,  I  know  not 

What  counts  harsh  fortune  casts  upon  my  face; 
62 


ANTONY  AND  CLEOPATRA         Act  II.  Sc.  vi. 

But  in  my  bosom  shall  she  never  come, 
To  make  my  heart  her  vassal. 
Lep.  Well  met  here. 

Pom.  I  hope  so,  Lepidus.    Thus  we  are  agreed  : 
I  crave  our  composition  may  be  written 
And  seal'd  between  us. 
Ccos.  That 's  the  next  to  do.  60 

Pom.  We  '11  feast  each  other  ere  we  part,  and  let  's 

Draw  lots  who  shall  begin. 
Ant.  That  will  I,  Pompey. 

Pom.  No,  Antony,  take  the  lot : 

But,  first  or  last,  your  fine  Egyptian  cookery 
Shall  have  the  fame.    I  have  heard  that  Julius  Cresar 
Grew  fat  with  feasting  there. 
Ant.  You  have  heard  much. 

Pom.   T  have  fair  meanings,  sir. 

Ant.  And  fair  words  to  them. 

Pom.  Then  so  much  have  I  heard : 

And  I  have  heard,  Apollodorus  carried — 
Eno.  No  more  of  that:  he  did  so. 

Pom.  What,  I  pray  you?     70 

Eno.  A  certain  queen  to  Caesar  in  a  mattress. 
Pom.  I  know  thee  now  :  how  farest  thou,  soldier? 
Eno.  Well; 

And  well  am  like  to  do,  for  I  perceive 
Four  feasts  are  toward. 
Pom.  Let  me  shake  thy  hand  ; 

I  never  hated  thee  :  I  have  seen  thee  fight, 
When  I  have  envied  thy  behaviour. 
Eno.  Sir,^ 

I  never  loved  you  much,  but  I  ha'  praised  ye 
When  vou  have  well  deserved  ten  times  as  much 

63 


Act  II.  Sc.  vi.         ANTONY  AND  CLEOPATRA 

As  I  have  said  you  did. 
Poni.  Enjoy  thy  plainness,  80 

It  nothing  ill  becomes  thee. 

Aboard  my  galley  I  invite  you  all :    • 

Will  you  lead,  lords  ? 
Ccrs.  ^ 

Ant,  V  Show  us  the  way,  sir. 

Lep.} 
Pom.  Come. 

[Exeunt  all  but  Menas  and  Enobarbus. 
Men.    [Aside]  Thy  father,  Pompey,  would  ne'er  have 

made  this  treaty. — You  and  I  have  known,  sir. 
Eno.  At  sea,  I  think. 
A^fen.  We  have,  sir. 
Eno.  You  have  done  well  by  water. 
Men.  And  you  by  land. 
Eno.  I   will   praise   any   man   that   will   praise   me ;     90 

though  it  cannot  be  denied  what  I  have  done  by  land. 
Men.  Nor  what  I  have  done  by  water. 
Eno.  Yes,   something  you   can   deny   for  your  own 

safety :   you  have  been  a  great  thief  by  sea. 
Me7t.  And  you  by  land. 
Ejto.  There  I  deny  my  land  service.     But  give  me 

your  hand,  Menas :    if  our  eyes  had  authority, 

here  they  might  take  two  thieves  kissing. 
Men.  All  men's  faces  are  true,  whatsoe'er  their  hands 

are.  100 

Eno.  But  there  is  never  a  fair  woman  has  a  true  face. 
Men.  No  slander  ;  they  steal  hearts. 
Eno.  We  came  hither  to  fight  with  you. 
Men.  For  my  part,   I   am   sorry  it   is  turned  to  a 
.    drinking.     Pompey  doth  this  day  laugh  away 

his  fortune. 

64 


ANTONY  AND  CLEOPATRA  Act  II.  Sc.  vi. 

Eno.   If  he  do,  sure  he  cannot  weep  't  back  again. 

Men.  You  Ve  said,  sir.  We  looked  not  for  Mark 
Antony  here :  pray  you,  is  he  married  to  Cleo- 
patra ? 

Eno.  Caesar's  sister  is  called  Octavia.  no 

Men.  'T'rue,  sir ;  she  was  the  wife  of  Caius  Marcellus. 

Eno.  But  she  is  now  the  wife  of  Marcus  Antonius. 

Men.  Pray  ye,  sir  ? 

Eno.  Tis  true. 

Men.  Then  is  Caesar  and  he  for  ever  knit  together. 

Eno.  If  I  were  bound  to  divine  of  this  unity,  I  would 
not  prophesy  so. 

Men.  I  think  the  policy  of  that  purpose  made  more 
in  the  marriage  than  the  love  of  the  parties. 

Eno.  I  think  so  too.     But  you  shall  find,  the  band  120 
that  seems  to  tie  their  friendship  together  will 
be  the  very  strangler  of  their  amity :   Octavia  is 
of  a  holy,  cold  and  still  conversation. 

Men.  Who  would  not  have  his  wife  so  ? 

Eno.  Not  he  that  himself  is  not  so ;  which  is  Mark 
Antony.  He  will  to  his  Egyptian  dish  again : 
then  shall  the  sighs  of  Octavia  blow  the  fire  up 
in  Caesar;  and,  as  I  said  before,  that  which  is 
the  strength  of  their  amity  shall  prove  the  im- 
mediate author  of  their  variance.  Antony  will  130 
use  his  affection  where  it  is :  he  married  but  his 
occasion  here. 

Men.  And  thus  it  may  be.  Come,  sir,  will  you 
aboard  ?    I  have  a  health  for  you. 

Eno.  I  shall  take  it,  sir :  we  have  used  our  throats  in 
Egypt. 

Men.  Come,  let 's  away.  [Exeunt. 

65 


Act  II.  Sc.  vii.        ANTONY  AND  CLEOPATRA 

Scene  VII. 

On  board  Pompey's  galley,  off  Misenum. 

Music  plays.  Enter  tzvo  or  three  Servants,  with 
a  banquet. 

First  Serv.  Here  they  '11  be,  man.  Some  o'  their 
plants  are  ill-rooted  already ;  the  least  wind  i' 
the  world  will  blow  them  down. 

Sec.  Serv.  Lepidus  is  high-coloured. 

First  Serv.  They  have  made  him  drink  alms-drink. 

Sec.  Serv.  As  they  pinch  one  another  by  the  disposi- 
tion, he  cries  out '  No  more  ' ;  reconciles  them  to 
his  entreaty  and  himself  to  the'  drink. 

First  Serv.  But  it  raises  the  greater  war  between  him 

and  his  discretion.  to 

Sec.  Serv.  Why,  this  it  is  to  have  a  name  in  great 
men's  fellowship :  I  had  as  lief  have  a  reed  that 
will  do  me  no  service  as  a  partisan  I  could  not 
heave. 

First  Serv.  To  be  called  into  a  huge  sphere,  and  not 
to  be  seen  to  move  in  't,  are  the  holes  where  eyes 
should  be,  which  pitifully  disaster  the  cheeks. 

A  sennet  sounded.  Enter  Ccusar.  Antony,  Lepidus,  Poni- 
pey,  Agrippa,  Mcccenas,  Enobarbus,  Menas,  with 
other  captains. 

Ant.  [To  Ccesaj']   Thus  do  they,  sir:   they  take  the  flow  o' 
the  Nile 
By  certain  scales  i'  the  pyramid  ;  they  know. 
By  the  height,  the  lowness,  or  the  mean,  if  dearth     20 
Or  foison  follow :   the  higher  Nilus  swells, 
The  more  it  promises  :  as  it  ebbs,  the  seedsman 
Upon  the  slime  and  ooze  scatters  his  grain. 
And  shortly  comes  to  harvest. 

66 


ANTONY  AND  CLEOPATRA        Act  II.  Sc.  vii. 

Lcp.  You  Ve  strange  serpents  there. 

Ant.  Ay,  Lepidus. 

Lep.  Your  serpent  of  Egypt  is  bred  now  of  your 
mud  by  the  operation  of  your  sun :  so  is  your 
crocodile. 

Ant.  They  are  so.  30 

Pom.  Sit, — and  some  wine  !     A  health  to  Lepidus  ! 

Lep.  I  am  not  so  well  as  I  should  be,  but  I  '11  ne'er 
out. 

Eno,  Not  till  you  have  slept ;  I  fear  me  you  '11  be  in 
till  then. 

Lep.  Nay,  certainly,  I  have  heard  the  Ptolemies 
pyramises  are  very  goodly  things ;  without  con- 
tradiction, I  have  heard  that. 

Men.   [Aside  to  Pom.\   Pompey,  a  word. 

Pom.  [Aside  to  Men.]    Say  in  mine  ear:  what  is  't? 

Men.   [Aside  to  Pom.]   Forsake  thy  seat,  I   do  beseech 
thee,  captain,  40 

And  hear  me  speak  a  word. 

Pom.  [Aside  to  Men.]   Forbear  me  till  anon. — 

This  wine  for  Lepidus? 

Lep.  What  manner  o'  thing  is  your  crocodile? 

Ant.  It  is  shaped,  sir,  like  itself ;  and  it  is  as  broad 
as  it  hath  breadth :  it  is  just  so  high  as  it  is,  and 
moves  with  it  own  organs:  it  lives  by  that 
which  nourisheth  it ;  and  the  elements  once  out 
of  it,  it  transmigrates. 

Lep.  What  colour  is  it  of? 

Ant.  Of  it  own  colour  too.  50 

Lep.  'Tis  a  strange  serpent. 

Ant.  'Tis  so.     And  the  tears  of  it  are  wet. 

Cccs.  Will  this  description  satisfy  him  ? 

67 


Act  II.  Sc.  vii.        ANTONY  AND  CLEOPATRA 

Ant.  With  the  health  that  Pompey  gives  him,  else  he 

is  a  very  epicure. 
Pom.    [Aside  to  Men.]    Go  hang,  sir,  hang!     Tell  me  of 
that  ?   away ! 

Do  as  I  bid  you. — Where  's  this  cup  I  call'd  for  ? 
Men.    [Aside  to  Pom.]   If  for  the  sake  of  merit  thou  w^ilt 
hear  me. 

Rise  from  thy  stool. 
Pom.    [Aside  to  Men.]   I  think  thou  'rt  mad.  The  matter? 

[Rises,  and  zvalks  aside. 
Men.  I  have  ever  held  my  cap  off  to  thy  fortunes.  60 

Pom.  Thou  hast  served  me  with  much   faith.     What 's 
else  to  say  ? 

Be  jolly,  lords. 
Ant.  These  quick-sands,  Lepidus, 

Keep  off  them,  for  you  sink. 
Men.  Wilt  thou  be  lord  of  all  the  world  ? 
Pom.  What  say'st  thou? 

Men.  W'ilt  thou  be  lord  of  the  whole   world  ?     That 's 

twice. 
Pom.  How  should  that  be? 
Men.  But  entertain  it. 

And,  though  thou  think  me  poor,  I  am  the  man 

Will  give  thee  all  the  world. 
Pom.  Hast  thou  drunk  well? 

Men.  No,  Pompey,  I  have  kept  me  from  the  cup. 

Thou  art,  if  thou  darest  be,  the  earthly  Jove :  70 

Whate'er  the  ocean  pales,  or  sky  inclips, 

Is  thine,  if  thou  wilt  ha  't. 
Pom.  Show  me  which  way. 

Men.  These  three  world-sharers,  these  competitors. 

Are  in  thy  vessel :  let  me  cut  the  cable  ; 

And,  when  we  are  put  off,  fall  to  their  throats : 

68 


ANTONY  AND  CLEOPATRA        Act  II.  Sc.  vii. 

All  there  is  thine. 
Pom.  Ah,  this  thou  shouldst  have  done, 

And  not  have  spoke  on  't !     In  me  'tis  villany  ; 

In  thee  't  had  been  g-ood  service.     Thou  must  know 

'Tis  not  my  profit  that  does  lead  mine  honour ; 

Mine  honour,  it.     Repent  that  e'er  thy  tongue        80 

Hath  so  betray 'd  thine  act :   being  done  unknown, 

I  should  have  found  it  afterwards  well  done. 

But  must  condemn  it  now.     Desist,  and  drink. 
Men.    [Aside^   For  this 

I  '11  never  follow  thy  pall'd  fortunes  more. 

Who  seeks,  and  will  not  take  when  once  'tis  ofifer'd, 

Shall  never  find  it  more. 
Pom.  This  health  to  Lepidus ! 

Ant.  Bear  him  ashore.     I  '11  pledge  it  for  him,  Pompey. 
Eno.  Here  's  to  thee,  Menas ! 

Men.  Enobarbus,  welcome! 

Pom.  Fill  till  the  cup  be  hid.  90 

Eno.  There  's  a  strong  fellow,  Menas. 

[Pointing  to  the  Attendant  zvJio  carries  off  Lepidus. 
Men.  Why? 
Eno.  A'  bears   the   third   part   of  the   world,    man  ; 

see'st  not? 
Men.  The  third  part  then  is  drunk :   would  it  were  all, 

That  it  might  go  on  wheels ! 
Eno.  Drink  thou  ;  increase  the  reels. 
Men.  Come. 

Pom.  This  is  not  yet  an  Alexandrian  feast. 
Ant.  It  ripens  towards  it.     Strike  the  vessels,  ho!        100 

Here  's  to  Caesar ! 
Cccs.  I  could  well  forbear  't. 

It 's  monstrous  labour,  when  I  wash  my  brain 

69 


Act  II.  Sc.  vii.        ANTONY  AND  CLEOPATRA 

And  it  grows  fouler. 
Ant.  Be  a  child  o'  the  time. 

Ccps.  Possess  it,  I  '11  make  answer : 

But  I  had  rather  fast  from  all  four  days 

Than  drink  so  much  in  one. 
Eno.  [To  Antony]   Ha,  my  brave  emperor! 

Shall  we  dance  now  the  Egyptian  Bacchanals, 

And  celebrate  our  drink? 

» 

Pom.  Let 's  ha  't,  good  soldier. 

Ant.  Come,  let 's  all  take  hands,  no 

Till  that  the  conquering  wine  hath  steep'd  our  sense 

IVi  soft  and  delicate  Lethe. 
Eno.  All  take  hands. 

Make  battery  to  our  ears  with  the  loud  music: 

The  while  I  '11  place  you :  then  the  boy  shall  sing ; 

The  holding  every  man  shall  bear  as  loud 

As  his  strong  sides  can  volley. 
[Music  plays.     Enobarbns  places  them  hand  in  hand. 

The  Song. 

Come,  thou  monarch  of  the  vine, 

Plumpy  Bacchus  with  pink  eyne! 

In  thy  fats  our  cares  be  drown'd, 

With  thy  grapes  our  hairs  be  crown'd  :  1 20 

Cup  us,  till  the  world  go  round. 

Cup  us,  till  the  world  go  round  ! 

Ccvs.  What    would    you    more?     Pompey,    good    night. 
Good  brother, 
Let  me  request  you  off :   our  graver  business 
Frowns  at  this  levity.     Gentle  lords,  let 's  part ; 
You  see  we  have  burnt  our  cheeks :   strong  Enobarbe 


ANTONY  AND  CLEOPATRA  Act  III.  Sc.  i. 

Is  weaker  than  the  wine ;  and  mine  own  tongue 
SpHts  what  it  speaks :  the  wild  disguise  hath  almost 
Antick'd  us  all.  What  needs  more  words.  Good  night. 
Good  Antony,  your  hand. 

Pom.  I  '11  try  you  on  the  shore. 

Ant.  And  shall,  sir:   give  's  your  hand. 

Pom.  O  Antony,         131 

You  have  my  father's  house, — But,  what?    we  are 
friends. 

Come,  down  into  the  boat. 
Eno.  Take  heed  you  fall  not. 

[Exeunt  all  but  Enobarbiis  and  Menas. 

Menas,  I    11  not  on  shore. 
Men.  No,  to  my  cabin. 

These  drums !  these  trumpets,  flutes !   what ! 

Let  Neptune  hear  we  bid  a  loud  farewell 

To  these  great  fellows :   sound  and  be  hang'd,  sound 
out !  [Soimd  a  flourish,  with  drums. 

Eno.  Hoo !   says  'a.     There  's  my  cap. 
Men.  Hoo !  noble  captain,  come.  [Exeunt. 

ACT  THIRD. 
Scene  1. 

A  plain  in  Syria. 

Enter  Ventidius,  as  it  zvere  in  triumph,  with  Silius,  and 
other  Romans,  Officers,  and  soldiers;  the  dead  body 
of  Pacoriis  borne  before  him. 

Ven.  Now,  darting  Parthia,  art  thou  struck ;  and  now 
Pleased  fortune  does  of  Marcus  Crassus'  death 
Make  me  revenger.     Bear  the  king's  son's  body 

71 


Act  III.  Sc.  i.  ANTONY  AND  CLEOPATRA 

Before  our  army.     Thy  Pacorus,  Orodes, 
Pays  this  for  Marcus  Crassus. 

Sil.  Noble  Ventidius, 

Whilst  yet  with  Parthian  blood  thy  sword  is  warm, 

The  fugitive  Parthians  follow  ;   spur  through  Media, 

Mesopotamia,  and  the  shelters  whither 

The  routed  fly :   so  thy  grand  captain  Antony 

Shall  set  thee  on  triumphant  chariots  and  lo 

Put  garlands  on  thy  head. 

Ven.  O  Silius,  Silius, 

I  have  done  enough :   a  lower  place,  note  well, 

May  make  too  great  an  act ;   for  learn  this,  Silius, 

Better  to  leave  undone  than  by  our  deed 

Acquire  too  high  a  fame  when  him  we  serve  's  away. 

Caesar  and  Antony  have  ever  won 

More  in  their  officer  than  person  :    Sossius, 

One  of  my  place  in  Syria,  his  lieutenant, 

For  quick  accumulation  of  renown, 

Which  he  achieved  by  the  minute,  lost  his  favour.  20 

Who  does  i'  the  wars  more  than  his  captain  can 

Becomes  his  captain's  captain :    and  ambition, 

The  soldier's  virtue,  rather  makes  choice  of  loss 

Than  gain  which  darkens  him. 

I  could  do  more  to  do  Antonius  good. 

But  'twould  offend  him,  and  in  his  offence 

Should  my  performance  perish. 

Sil.  Thou  hast,  Ventidius,  that 

Without  the  which  a  soldier  and  his  sword 
Grants  scarce  distinction.     Thou  wilt  write  to  An- 
tony? 

Ven.  I  '11  humbly  signify  what  in  his  name,  30 

That  magical  word  of  war,  we  have  effected ; 
How,  with  his  banners  and  his  well-paid  ranks, 
72 


ANTONY  AND  CLEOPATRA         Act  III.  Sc.  ii. 

The  ne'er-yet-beaten  horse  of  Parthia 

We  have  jaded  out  o'  the  field. 
Sil.  Where  is  he  now? 

Ven.  He  purposeth  to  Athens :   whither,  with  what  haste 

The  weight  we  must  convey  with  's  will  permit, 

We  shall  appear  before  him.     On,  there  ;  pass  along  ! 

[Exeunt. 

Scene  II, 

Rome.     Afi  ante-chamber  in  Cccsar's  house. 
Enter  Agrippa  at  one  door,  and  Enobarbus  at  another. 

Agr.  What,  are  the  brothers  parted? 

E,no.  They  have  dispatch'd  with  Pompey';  he  is  gone; 
The  other  three  are  sealing.     Octavia  weeps 
To  part  from  Rome ;  Caesar  is  sad,  and  Lepidus 
Since  Pompey's  feast,  as  Mena  says,  is  troubled 
With  the  green  sickness. 

Agr.  'Tis  a  noble  Lepidus. 

Eno.  A  very  fine  one :   O,  how  he  loves  Caesar ! 

Agr.   Nay,  but  how  dearly  he  adores  Mark  Antony ! 

Eno.  Caesar?     Why,  he's  the  Jupiter  of  men. 

Agr.  What's  Antony?     The  god  of  Jupiter.  lo 

Eno.  Spake  you  of  Caesar  ?     How  !   the  nonpareil ! 

Agr.  O  Antony !     O  thou  Arabian  bird ! 

Eno.  Would  you  praise  Caesar,  say  ' Caesar' :  go  no  further. 

Agr.  Indeed,  he  plied  them  both  with  excellent  praises. 

Eno.  But  he  loves  Caesar  best ;  yet  he  loves  Antony  : 

Ho!    hearts,  tongues,  figures,  scribes,  bards,  poets, 

cannot 
Think,  speak,  cast,  write,  sing,  number — ho! — 
His  love  to  Antony.     But  as  for  Caesar, 

73 


Act  III.  Sc.  ii.         ANTONY  AND  CLEOPATRA 

Kneel  down,  kneel  down,  and  wonder. 
Agr.  Both  he  loves. 

Eno.  They  are  his  shards,  and  he  their  beetle.     [Trumpet 
within.]     So;  20 

This  is  to  horse.     Adieu,  noble  Agrippa. 
Agr.  Good  fortune,  worthy  soldier,  and  farewell. 

Enter  Ccesar,  Antony,  Lepidiis,  and  Octavia. 

Ant.  No  further,  sir. 

Cces.  You  take  from  me  a  great  part  of  myself ; 
Use  me  well  in  't.     Sister,  prove  such  a  wife 
As  my  thoughts  make  thee,  and  as  my  farthest  band 
Shall  pass  on  thy  approof.     Most  noble  Antony, 
Let  not  the  piece  of  virtue  which  is  set 
Betwixt  us  as  the  cement  of  our  love, 
To  keep  it  builded,  be  the  ram  to  batter  30 

The  fortress  of  it ;   for  better  might  we 
Have  loved  without  this  mean,  if  on  both  parts 
This  be  not  cherish'd. 

Ant.  Make  me  not  offended 

In  your  distrust. 

Cces.  I  have  said. 

Ant.  You  shall  not  find, 

Though  you  be  therein  curious,  the  least  cause 
For  what  you  seem  to  fear :   so,  the  gods  keep  you, 
And  make  the  hearts  of  Romans  serve  your  ends ! 
We  will  here  part, 

Cces.  Farewell,  my  dearest  sister,  fare  thee  well : 

The  elements  be  kind  to  thee,  and  make  40 

Thy  spirits  all  of  comfort!    fare  thee  well. 

Octa.  My  noble  brother ! 

74 


ANTONY  AND  CLEOPATRA         Act  III.  Sc.  ii. 


Ant.  The  April 's  in  her  eyes :  it  is  love's  spring, 

And  these  the  showers  to  bring  it  on.     Be  cheerful. 
Octa.  Sir,  look  well  to  my  husband's  house,  and — 
Cccs.  What, 

Octavia  ? 
Octa.  I  '11  tell  you  in  your  ear. 
Ant.  Her  tongue, will  not  obey  her  heart,  nor  can 

Her   heart   inform   her   tongue,   the   swan's   down- 
feather, 

That  stands  upon  the  swell  at  full  of  tide  ^ 

And  neither  way  inclines.  50 

Eno,   [Aside  to  Agr.]   Will  Caesar  weep? 
Agr.  [Aside  to  Eno.]   He  has  a  cloud  in  's  face. 

Eno.  [Aside  to  Agr.]  He  were  the  worse  for  that,  were  he 
a  horse ; 

So  is  he,  being  a  man. 
Agr.         [Aside  to  Eno.]   Why,  Enobarbus, 

When  Antony  found  Julius  Caesar  dead, 

He  cried  almost  to  roaring ;   and  he  wept 

When  at  Philippi  he  found  Brutus  slain. 
Eno.    [Aside  to  Agr.]   That  year  indeed  he  was  troubled 
with  a  rheum ; 

What  willingly  he  did  confound  he  wail'd. 

Believe  't,  till  I  wept  too. 
Cces.  No,  sweet  Octavia, 

You  shall  hear  from  me  still ;  the  time  shall  not     60 

Out-go  my  thinking  on  you. 
Ant.  Come,  sir,  come; 

I  '11  wrestle  with  you  in  my  strength  of  love : 

Look,  here  I  have  you ;   thus  I  let  you  go, 

And  give  you  to  the  gods. 
Cces.  Adieu  ;  be  happy ! 

75 


Act  III.  Sc.  iii.        ANTONY  AND  CLEOPATRA 

Lep.  Let  all  the  number  of  the  stars  give  light 

To  thy  fair  way ! 
Cces.  Farewell,  farewell!      [Kisses  Octavia. 

Ant,  Farewell ! 

[Trumpets  sound.     Exeunt. 

Scene  IIL 

Alexandria.     Cleopatra's  palace. 

Enter  Cleopatra,  Charmian,  Iras,  and  Alexas. 

Cleo.  Where  is  the  fellow? 

Alex.  Half  afeard  to  come. 

Cleo.  Go  to,  go  to. 

Enter  Messenger. 

Come  hither,  sir. 
Alex.  Good  majesty, 

Herod  of  Jewry  dare  not  look  upon  you 

But  w^hen  you  are  well  pleased. 
Cleo.  '  That  Herod's  head 

I  '11  have :   but  how,  when  Antony  is  gone 

Through  whom  I  might  command  it?     Come  thou 
near. 
Mess.  Most  gracious  majesty, — 
Cleo.  Didst  thou  behold 

Octavia  ? 
Mess.  Ay,  dread  queen. 
Cleo.       '  Where? 

Mess.  Aladam,  in  Rome 

I  look'd  her  in  the  face,  and  saw  her  led 

Between  her  brother  and  Mark  Antony. 
Cleo.  Is  she  as  tall  as  me  ? 
Mess.  She  is  not.  madam. 

76 


ANTONY  AND  CLEOPATRA        Act  III.  Sc.  iii. 

Cleo.  Didst  hear  her  speak  ?  is  she  shrill-tongued  or  low  ? 
Mess.  ]Madam,  I  heard  her  speak ;   she  is  low-voiced. 
CIco.  That 's  not  so  good.     He  cannot  like  her  long. 
Char.  Like  her !     O  Isis  !    'tis  impossible. 
Cleo.  I  think  so,  Charmian :   dull  of  tongue  and  dwarfish. 

What  majesty  is  in  her  gait?     Remember,  20 

If  e'er  thou  look'dst  on  majesty. 
Mess.  She  creeps : 

Her  motion  and  her  station  are  as  one ; 

She  shows  a  body  rather  than  a  life, 

A  statue  than  a  breather. 
Cleo.  Is  this  certain  ? 

Mess.  Or  I  have  no  observance. 
Char.  Three  in  Egypt 

Cannot  make  better  note. 
Cleo.  He  's  very  knowing ; 

I  do  perceive  't :   there  's  nothing  in  her  yet : 

The  fellow  has  good  judgement. 
Char.  Excellent. 

Cleo.  Guess  at  her  years,  I  prithee. 
Mess.  Madam, 

She  was  a  widow — 
Cleo.  Widow !     Charmian,  hark.         30 

Mess.  And  I  do  think  she  's  thirty. 

Cleo.  Bear'st  thou  her  face  in  mind  ?  is  't  long  or  round  ? 
Mess.  Round  even  to  faultiness. 
Cleo.  For  the  most  part,  too,  they  are  foolish  that  are  so. 

Her  hair,  what  colour? 
Mess.  Brown,  madam  :   and  her  forehead 

As  low  as  she  would  wish  it. 
Cleo.  There  's  gold  for  thee. 

Thou  must  not  take  my  former  sharpness  ill : 

77 


Act  III.  Sc.  iv.       ANTONY  AND  CLEOPATRA 

I  will  employ  thee  back  again ;   I  find  thee 

Most  fit  for  business  :   go  make  thee  ready  ;  40 

Our  letters  are  prepared.  [Exit  Messenger. 

Char.  A  proper  man. 

Cleo.  Indeed,  he  is  so :   I  repent  me  much 

That  so  I  harried  him.     Why,  methinks,  by  him, 
This  creature  's  no  such  thing. 

Char.  Nothing,  madam. 

Cleo.  The  man  hath  seen  some  majesty,  and  should  know. 

Char.  Hath  he  seen  majesty?     Isis  else  defend, 
And  serving  you  so  long ! 

Cleo.  I  have  one  thing  more  to  ask  him  yet,  good  Charmian  : 
But  'tis  no  matter ;   thou  shalt  bring  him  to  me 
Where  I  will  write.     All  may  be  well  enough.         50 

Char.  I  warrant  you,  madam.  [Exeunt. 

Scene  IV. 

Athens.     A  room  in  Antony's  house. 
Enter  Antony  and  Octavia. 

Ant.  Nay,  nay,  Octavia,  not  only  that, 

That  were  excusable,  that  and  thousands  more 

Of  semblable  import,  but  he  hath  waged 

New  wars  'gainst  Pompey ;  made  his  will,  and  read  it 

To  public  ear : 

Spoke  scantly  of  me :   when  perforce  he  could  not 

But  pay  me  terms  of  honour,  cold  and  sickly 

He  vented  them ;   most  narrow  measure  lent  me ; 

When  the  best  hint  was  given  him,  he  not  took  't. 

Or  did  it  from  his  teeth. 

Octa.  O  my  good  lord,  10 

Believe  not  all ;   or,  if  you  must  believe, 

78 


ANTONY  AND  CLEOPATRA        Act  III.  Sc.  iv. 

Stomach  not  all.     A  more  unhappy  lady, 

If  this  division  chance,  ne'er  stood  between, 

Praying  for  both  parts : 

The  good  gods  will  mock  me  presently, 

When  I  shall  pray,  '  O,  bless  my  lord  and  husband !  ' 

Undo  that  prayer,  by  crying  out  as  loud, 

'  O,  bless  my  brother !  '    Husband  win,  win  brother, 

Prays,  and  destroys  the  prayer ;   no  midway 

'Twixt  these  extremes  at  all. 

Ant.  Gentle  Octavia,  20 

Let  your  best  love  draw  to  that  point,  which  seeks 
Best  to  preserve  it ;  if  I  lose  mine  honour, 
I  lose  myself :   better  I  were  not  yours 
Than  yours  so  branchless.     But,  as  you  requested, 
Yourself  shall  go  between  's  :  the  mean  time,  lady, 
I  '11  raise  the  preparation  of  a  war 
Shall  stain  your  brother :  make  your  soonest  haste  ; 
So  your  desires  are  yours. 

Octa.  Thanks  to  my  lord. 

The  Jove  of  power  make  me  most  weak,  most  weak, 
Your  reconciler !    Wars  'twixt  you  twain  would  be 
As  if  the  world  should  cleave,  and  that  slain  men     31 
Should  solder  up  the  rift. 

Ant.  When  it  appears  to  you  where  this  begins. 

Turn  your  displeasure  that  way ;   for  our  faults 
Can  never  be  so  equal,  that  your  love 
Can  equally  move  with  them.     Provide  your  going  ; 
Choose  your  own  company,  and  command  what  cost 
Your  heart  has  mind  to.  [Exeunt. 


79 


Act  III.  Sc.  V.         ANTONY  AND  CLEOPATRA 

Scene  V. 

The  same.     Another  room. 
Enter  Enobarbiis  and  Eros,  meeting. 

Eno.  How  now,  friend  Eros  ! 

Eros.  There  's  strange  news  come,  sir. 

Eno.  What,  man? 

Eros.  Caesar   and    Lepidus   have   made   wars   upon 
Pompey. 

Eno.  This  is  old  :  what  is  the  success  ? 

Eros.  Caesar,  having  made  use  of  him  in  the  wars 
'gainst  Pompey,  presently  denied  him  rivality ; 
would  not  let  him  partake  in  the  glory  of  the 
action :  and  not  resting  here,  accuses  him  of  lo 
letters  he  had  formerly  wrote  to  Pompey ;  upon 
his  own  appeal,  seizes  him :  so  the  poor  third  is 
up,  till  death  enlarge  his  confine. 

Eno.  Then,  world,  thou  hast  a  pair  of  chaps,  no  more ; 
And  throw  between  them  all  the  food  thou  hast, 
They  '11  grind  the  one  the  other.     Where  's  Antony  ? 

Eros.  He  's  walking  in  the  garden — thus  ;  and  spurns 

The  rush  that  lies  before  him  ;  cries  '  Fool  Lepidus  ! ' 
And  threats  the  throat  of  that  his  officer 
That  murder'd  Pompey. 

Eno.  Our  great  navy  's  rigg'd.     20 

Eros.  For  Italy  and  Caesar.    More,  Domitius  ; 
My  lord  desires  you  presently :   my  news 
I  might  have  told  hereafter. 

Eno.  'Twill  be  naught : 

But  let  it  be.     Bring  me  to  Antony. 
Eros.  Come,  sir.  [Exeunt. 

80 


ANTONY  AND  CLEOPATRA       Act  III.  Sc.  vi. 

Scene  VI. 

Rome.     Ccesar's  house. 

Enter  Cccsar,  Agrippa,  and  Mcccenas. 

Cces.  Contemning  Rome,  he  has  done  all  this,  and  more, 
In  Alexandria :  here  's  the  manner  of  't : 
I'  the  market-place,  on  a  tribunal  silver'd 
Cleopatra  and  himself  in  chairs  of  gold 
Were  publicly  enthroned :   at  the  feet  sat 
Csesarion,  whom  they  call  my  father's  son, 
And  all  the  unlawful  issue  that  their  lust 
Since  then  hath  made  between  them.    Unto  her 
He  gave  the  stablishment  of  Egypt ;  made  her 
Of  lower  Syria,  Cyprus,  Lydia,  lo 

Absolute  queen. 
J\,[ccc.  This  in  the  public  eye  ? 

Cccs.  V  the  common  show-place,  where  they  exercise. 
His  sons  he  there  proclaim'd  the  kings  of  kings : 
Great  Media,  Parthia,  and  Armenia, 
He  gave  to  Alexander  ;  to  Ptolemy  he  assign'd 
Syria,  CiHcia  and  Phoenicia  :   she 
In  the  habiliments  of  the  goddess  Isis 
That  day  appear'd,  and  oft  before  gave  audience, 
As  'tis  reported,  so. 

licec.  Let  Rome  be  thus 

Inform'd. 

Agr.  Who,  queasy  with  his  insolence 

Already,  willtheir  good  thoughts  call  from  him. 

Cces.  The  people  know  it,  and  have  now  received 
His  accusations. 

Agr.  Who  does  he  accuse  ? 

Cces.  C^sar :  and  that,  having  in  Sicily 

8i 


20 


Act  III.  Sc.  vi.        ANTONY  AND  CLEOPATRA 

Sextus  Pompeius  spoil'd,  we  had  not  rated  him 

His  part  o'  the  isle :   then  does  he  say,  he  lent  me 

Some  shipping  unrestored  :  lastly,  he  frets 

That  Lepidus  of  the  triumvirate 

Should  be  deposed  ;  and,  being,  that  we  detain 

All  his  revenue. 
Agr.  Sir,  this  should  be  answer'd.  30 

Cces.  'Tis  done  already,  and  the  messenger  gone. 

I  have  told  him,  Lepidus  was  grown  too  cruel ; 

That  he  his  high  authority  abused 

And  did  deserve  his  change :    for  what  I  have  con- 
quer'd, 

I  grant  him  part ;  but  then,  in  his  Armenia 

And  other  of  his  conquer'd  kingdoms,  I 

Demand  the  like. 
McFC.  He  '11  never  yield  to  that. 

Cces.  Nor  must  not  then  be  yielded  to  in  this. 

Enter  Octavia,  liith  her  train. 

Octa.  Hail,  Caesar,  and  my  lord !   hail,  most  dear  Caesar ! 

Cces.  That  ever  I  should  call  thee  castaway !  40 

Octa.  You  have  not  call'd  me  so,  nor  have  you  cause. 

Cces.  Why  have  you  stol'n  upon  us  thus  ?     You  come  not 
Like  Caesar's  sister :   the  wife  of  Antony 
Should  have  an  army  for  an  usher,  and 
The  neighs  of  horse  to  teW  of  her  approach 
Long  ere  she  did  appear ;  the  trees  by  the  way 
Should  have  borne  men  ;  and  expectation  fainted, 
Longing  for  what  it  had  not ;  nay,  the  dust 
Should  have  ascended  to  the  roof  of  heaven, 
Raised  by  your  populous  troops :  but  you  are  come 
A  market-maid  to  Rome  ;  and  have  prevented         51 
82 


ANTONY  AND  CLEOPATRA        Act  III.  Sc.  vi. 

The  ostentation  of  our  love,  which,  left  unshown, 
Is  often  left  unloved :   we  should  have  met  you 
By  sea  and  land,  supplying  every  stage 
With  an  augmented  greeting. 
Q(^lQ  Good  my  lord. 

To  come  thus  was  I  not  constrain'd,  but  did  it 
On  my  free  will.     IMy  lord,  Mark  Antony, 
Hearing  that  you  prepared  for  war,  acquainted 
My  grieved  ear  withal ;  whereon,  I  begg'd 
His  pardon  for  return. 
(-^^^  Which  soon  he  granted,         6o 

Being  an  obstruct  'tween  his  lust  and  him. 
Octa.  Do  not  say  so,  my  lord. 

^^^^  I  have  eyes  upon  him, 

And  his  affairs  come  to  me  on  the  wind. 
Where  is  he  now  ? 
Q^fQ^  My  lord,  in  Athens. 

Cccs.  No,  my  most  wronged  sister  ;  Cleopatra 

Hath  nodded  him  to  her.    He  hath  given  his  empire 
Up  to  a  whore  ;  who  now  are  levying 
The  kings  o'  the  earth  for  war :  he  hath  assembled 
Bocchus,  the  king  of  Libya ;  Archelaus, 
Of  Cappadocia  ;  Philadelphos,  king  7^ 

Of  Paphlagonia  ;  the  Thracian  king,  Adallas ; 
King  Malchus  of  Arabia ;  King  of  Pont ; 
Herod  of  Jewry ;  Mithridates,  king 
Of  Comagene  ;  Polemon  and  Amyntas, 
The  kings  of  Mede  and  Lycaonia, 
With  a  more  larger  list  of  sceptres. 
^  ^  Av  me,  most  wretched. 

That  have  my  heart  parted  betwixt  two  friends 
That  do  afflict  each  other ! 
83 


Act  III.  Sc.  vii.       ANTONY  AND  CLEOPATRA 

C(TS.  W'elcome  hither : 

Your  letters  did  withhold  our  breaking  forth, 
Till  we  perceived  both  how  you  were  wrong  led     80 
And  we  in  negligent  danger.     Cheer  your  heart : 
Be  you  not  troubled  with  the  time,  w^hich  drives 
O'er  3^our  content,  these  strong  necessities  ; 
But  let  determined  things  to  destiny 
Hold  unbewail'd  their  way.    Welcome  to  Rome  ; 
Nothing  more  dear  to  me.    You  are  abused 
Beyond  the  mark  of  thought :   and  the  high  gods, 
To  do  you  justice,  make  them  ministers 
Of  us  and  those  that  love  you.    Best  of  comfort ; 
And  ever  welcome  to  us. 

Agr.  Welcome,  lady.  90 

Mcec.  Welcome,  dear  madam. 

Each  heart  in  Rome  does  love  and  pity  you : 
Only  the  adulterous  Antony,  most  large 
In  his  abominations,  turns  you  off ; 
And  gives  his  potent  regiment  to  a  trull, 
That  noises  it  against  us. 

Octa.  Is  it  so,  sir? 

Ccrs.  Most  certain.     Sister,  welcome :   pray  you. 
Be  ever  known  to  patience :  my  dear'st  sister !, 

[Exeunt. 

Scene  VII.  : 

New  Actiitin.     Antony's  camp.-  -  -    -O 
Enter  Cleopatra  and  Enoharbtis.''^[^^:.,. 

Cleb.  I  will  be  even  with  thee,  doubt  it  not.  -  " 

Eno.  But  why,  why,  why  ? 

Cleo.  Thou  hast  for  spoke  my  being  in  these  wars, 

84 


ANTONY  AND  CLEOPATRA      Act  III.  Sc.  vii. 

And  say'st  it  is  not  fit. 

Eno.  Well,  is  it,  is  it? 

Clco.  If  not  denounced  against  us,  why  should  not   vve 
Be  there  in  person  ? 

Eno.  [Aside]   Well,  I  could  reply : 

If  we  should  serve  with  horse  and  mares  together. 
The  horse  were  merely  lost ;  the  mares  would  bear 
A  soldier  and  his  horse. 

Cleo.  \Miat  is 't  you  say  ?  lo 

Eno.  Your  presence  needs  must  puzzle  Antony  ; 

Take  from  his  heart,  take  from  his  brain,  from's  time, 
What  should  not  then  be  spared.     He  is  already 
Traduced  for  levity  ;  and  'tis  said  in  Rome 
That  Photinus,  an  eunuch  and  your  maids 
Manage  this  war. 

Cleo.  Sink  Rome,  and  their  tongues  rot 

That  speak  against  us !    A  charge  we  bear  i'  the  war. 
And,  as  the  president  of  my  kingdom,  will 
Appear  there  for  a  man.     Speak  not  against  it ; 
I  will  not  stay  behind. 

Eno.  Nay,  I  have  done.  20 

Here  comes  the  emperor. 

Enter  Antony  and  Canidius. 

Ant.  Is  it  not  strange,  Canidius, 

That  from  Tarentum  and  Brundusium 

He  could  so  quickly  cut  the  Ionian  sea. 

And  take  in  Toryne?     You  have  heard  on  't,  sweet? 
Cleo.  Celerity  is  never  more  admired 

Than  by  the  negligent. 
Ant.  A  good  rebuke. 

Which  might  have  well  becomed  the  best  of  men, 

85 


Act  III.  Sc.  vii.      ANTONY  AND  CLEOPATRA 

To  taunt  at  slackness.    Canidius,  we 
Will  fight  with  him  by  sea. 

Cleo.  By  sea :  what  else  ? 

Can.  Why  will  my  lord  do  so  ? 

Ant.  For  that  he  dares  us  to  't.     30 

Eno.  So  hath  my  lord  dared  him  to  single  fight. 

Can.  Ay,  and  to  wage  this  battle  at  Pharsalia, 

Where  Caesar  fought  with  Pompey :  but  these  offers, 
Which  serve  not  for  his  vantage,  he  shakes  off, 
And  so  should  you. 

Eno.  Your  ships  are  not  well  mann'd, 

Your  mariners  are  muleters,  reapers,  people 
Ingross'd  by  swift  impress ;   in  Caesar's  fleet 
Are  those  that  often  have  'gainst  Pompey  fought : 
Their  ships  are  yare,  yours  heavy  :  no  disgrace 
Shall  fall  you  for  refusing  him  at  sea, 
Being  prepared  for  land. 

Ant.  By  sea,  by  sea. 

Eno,  Most  worthy  sir,  you  therein  throw  away 
The  absolute  soldiership  you  have  by  land, 
Distract  your  army,  which  doth  most  consist 
Of  war-mark'd  footmen,  leave  unexecuted 
Your  own  renowned  knowledge,  quite  forgo 
The  way  which  promises  assurance,  and 
Give  up  yourself  merely  to  chance  and  hazard 
From  firm  security. 

Ant.  I  '11  fight  at  sea. 

Cleo.  I  have  sixty  sails,  Caesar  none  better.  50 

Ant.  Our  overplus  of  shipping  will  we  burn  ; 

And,  with  the  rest  f  ull-mann'd,  from  the  head  of  Actium, 
Beat  the  approaching  Caesar.    But  if  we  fail, 
We  then  can  do  't  at  land. 
86 


ANTONY  AND  CLEOPATRA       Act  III.  Sc.  vii. 

Enter  a  Messenger. 

Thy  business? 

Mess.  The  news  is  true,  my  lord ;  he  is  descried ; 
Caesar  has  taken  Toryne. 

Ant.  Can  he  be  there  in  person?   'tis  impossible; 
Strange  that  his  power  should  be.     Canidius, 
Our  nineteen  legions  thou  shalt  hold  by  land, 
And  our  twelve  thousand  horse.     We  '11  to  our  ship : 
Away,  my  Thetis ! 

Enter  a  Soldier. 

How  now,  worthy  soldier? 
Sold.  O  noble  emperor,  do  not  fight  by  sea  ;  6i 

Trust  not  to  rotten  planks.     Do  you  misdoubt 

This  sword  and  these  my  wounds  ?    Let  the  Egyptians 

And  the  Phoenicians  go  a-ducking:    we 

Have  used  to  conquer,  standing  on  the  earth 

And  fighting  foot  to  foot. 
Ant.  Well,  well :   away! 

[Exeunt  Antony,  Cleopatra,  and  Enobarbus. 
Sold.  By  Hercules,  I  think  I  am  i'  the  right. 
Can.  Soldier,  thou  art :  but  his  whole  action  grows 

Not  in  the  power  on  't :   so  our  leader's  led,  70 

And  we  are  women's  men. 
Sold.  You  keep  by  land 

The  legions  and  the  horse  whole,  do  you  not  ? 
Can.  Marcus  Octavius,  Marcus  Justeius, 

Publicola  and  Cselius,  are  for  sea: 

But  we  keep  whole  by  land.     This  speed  of  Caesar's 

Carries  beyond  belief. 
Su  Id.  While  he  was  yet  in  Rome, 

His  power  went  out  in  such  distractions  as 

87 


Act  111.  Sc.  viih=ix.  ANTONY  AND  CLEOPATRA 

Beguiled  all  spies. 
Can.  Who  's  his  lieutenant,  hear  you  ? 

Sold.  They  say,  one  Taurus. 
Can.  Well  I  know  the  man. 

Enter  a  Messenger. 

Mess.  The  emperor  calls  Canidius.  80 

Can.  With  news  the  time  's  with  labour,  and  throes  forth 

Each  minute  some.  {Exeunt. 

Scene  VIII. 

A  plain  near  Actiiim. 
Enter  Cccsar,  Taurus,  zcith  his  army,  marching. 

Cces.  Taurus ! 

Taur.  My  lord? 

Cces.  Strike  not  by  land  ;  keep  whole  :  provoke  not  battle, 
Till  we  have  done  at  sea.     Do  not  exceed 
The  prescript  of  this  scroll :   our  fortune  lies 
Upon  this  jump.  {Exeunt. 

Scene  IX. 

Another  part  of  the  plain. 

Enter  Antony  and  Enoharous. 

Ant.  Set  we  our  squadrons  on  yond  side  o'  the  hill, 
In  eye  of  Caesar's  battle ;   from  which  place 
W^e  may  the  number  of  the  ships  behold, 
And  so  proceed  accordingly.  {Exeunt, 


ANTONY  AND  CLEOPATRA         Act  III.  Sg.  x. 

Scene  X. 

Another  part  of  the  plain. 

Enter  Canidins,  marching  with  his  land  army  one  way; 
and  Taurus,  the  lieutenant  of  Ccesar,  zvith  his  army, 
the  other  way.  After  their  going  in,  is  heard  the 
noise  of  a  sea-fight. 

Alaruin.     Enter  Enobarbus. 

Eno.  Naught,  naught,  all  naught !  I  can  behold  no  longer  ! 
The  Antoniad,  the  Egyptian  admiral, 
With  all  their  sixty,  fly  and  turn  the  rudder : 
To  see  't  mine  eyes  are  blasted. 

Enter  Scams. 

Scar.  Gods  and  goddesses, 

All  the  whole  synod  of  them  ! 

Eno.  What 's  thy  passion  ? 

Scar.  The  greater  cantle  of  the  world  is  lost 

With  very  ignorance  ;   we  have  kiss'd  away 
Kingdoms  and  provinces. 

Eno.  How  appears  the  fight? 

Scar.  On  our  side  like  the  token'd  pestilence,  9 

Where  death  is  sure.     Yon  ribaudred  nag  of  Egypt — 
Whom  leprosy  overtake ! — i'  the  midst  o'  the  fight. 
When  vantage  like  a  pair  of  twins  appear'd. 
Both  as  the  same,  or  rather  ours  the  elder, — 
The  breese  upon  her,  like  a  cow  in  June ! — 
Hoists  sails  and  flies. 

Eno.  That  I  beheld: 

Mine  eyes  did  sicken  at  the  sight,  and  could  not  . 
Endure  a  further  view. 

Scar.  She  once  being  loof'd,  . 


Act  III.  Sc.  XI.        ANTONY  AND  CLEOPATRA 

The  noble  ruin  of  her  magic,  Antony, 
Claps  on  his  sea-wing,  and  like  a  doting  mallard,    20 
Leaving  the  fight  in  height,  flies  after  her : 
I  never  saw  an  action  of  such  shame ; 
Experience,  manhood,  honour,  ne'er  before 
Did  violate  so  itself. 
Eno,  Alack,  alack! 

Enter  Canidius. 

Can,  Our  fortune  on  the  sea  is  out  of  breath, 

And  sinks  most  lamentably.     Had  our  general 
Been  what  he  knew  himself,  it  had  gone  well: 
O,  he  has  given  example  for  our  flight 
Most  grossly  by  his  own ! 

Eno.  Ay,  are  you  thereabouts  ?  Why  then  good  night 

Indeed,  30 

Can.  Toward  Peloponnesus  are  they  fled. 

Scar.  'Tis  easy  to  't ;  and  there  I  will  attend 
What  further  comes. 

Can.  To  Caesar  will  I  render 

My  legions  and  my  horse :  six  kings  already 
Show  me  the  way  of  yielding. 

Eno.  I  '11  yet  follow 

The  wounded  chance  of  Antony,  though  my  reason 
Sits  in  the  wind  against  me.  [Exeunt. 

Scene  XL 

Alexandria.     Cleopatra's  palace. 
Enter  Antony  with  Attendants. 

Ant.  Hark !   the  land  bids  me  tread  no  more  upon  't ; 
It  is  ashamed  to  bear  me.     Friends,  come  hither : 
I  am  so  lated  in  the  world  that  I 
90 


ANTONY  AND  CLEOPATRA        Act  III.  Sc.  xi. 

Have  lost  my  way  for  ever.     I  have  a  ship 
Laden  with  gold ;  take  that,  divide  it ;  fly, 
And  make  your  peace  with  Caesar. 

All.  Fly!  not  we. 

Aiit.  I  have  fled  myself,  and  have  instructed  cowards 

To  run  and  show  their  shoulders.     Friends,  be  gone; 
I  have  myself  resolved  upon  a  course 
Which  has  no  need  of  you  ;  be  gone :  lo 

My  treasure  's  in  the  harbour,  take  it.     O, 
I  follow 'd  that  I  blush  to  look  upon : 
My  very  hairs  do  mutiny,  for  the  white 
Reprove  the  brown  for  rashness,  and  they  them 
For  fear  and  doting.     Friends,  be  gone :   you  shall 
Have  letters  from  me  to  some  friends  that  will 
Sweep  your  way  for  you.     Pray  you,  look  not  sad, 
Nor  make  replies  of  loathness  :  take  the  hint 
Which  my  despair  proclaims  ;  let  that  be  left 
Which  leaves  itself :  to  the  sea-side  straightway :     20 
I  will  possess  you  of  that  ship  and  treasure. 
Leave  me,  I  pray,  a  little :  pray  you  now : 
Nay,  do  so ;  for  indeed  I  have  lost  command, 
Therefore  I  pray  you :   I  '11  see  you  by  and  by. 

[Sits  down. 

Enter  Cleopatra  led  by  Charmian  and  Iras;  Eros 
following. 

Eros.  Nay,  gentle  madam,  to  him,  comfort  him. 

Iras.  Do,  most  dear  queen. 

Char.  Do !   why,  what  else  ? 

Cleo.  Let  me  sit  down.    O  Juno! 

Ant.  No,  no,  no,  no,  no. 

Eros.  See  you  here,  sir  ?  3^ 

Ant.  O  fie,  fie,  fie ! 

91 


Act  III.  Sc.  xi.        ANTONY  AND  CLEOPATRA 

Char.  Madam! 

Iras.  Madam,  O  good  empress! 

Eros.  Sir,  sir ! 

Ant.  Yes,  my  lord,  yes ;  he  at  Philippi  kept 

His  sword  e'en  like  a  dancer ;  while  I  struck 

The  lean  and  wrinkled  Cassius ;  and  'twas  I 

That  the  mad  Brutus  ended :  he  alone 

Dealt  on  lieutenantry  and  no  practice  had 

In  the  brave  squares  of  war :  yet  now — No  matter. 

Cleo.  Ah!  standby.  41 

Eros.  The  queen,  my  lord,  the  queen. 

Iras.  Go  to  him,  madam,  speak  to  him : 
He  is  unqualitied  with  very  shame. 

Cleo.  Well  then,  sustain  me :  O ! 

Eros.  Most  noble  sir,  arise ;  the  queen  approaches : 
Her  head  's  declined,  and  death  will  seize  her,  but 
Your  comfort  makes  the  rescue. 

Ant.  I  have  offended  reputation, 
A  most  unnoble  swerving. 

Eros.  Sir,  the  queen.  50 

Ant.  O,  whither  hast  thou  led  me,  Egypt?     See, 
How  I  convey  my  shame  out  of  thine  eyes 
By  looking  back  what  I  have  left  behind 
Stroy'd  in  dishonour. 

Cleo.  O  my  lord,  my  lord, 

Forgive  my  fearful  sails  !  I  little  thought 
You  would  have  followed. 

Ant.  Egypt,  thou  knew'st  too  well 

My  heart  was  to  thy  rudder  tied  by  the  strings, 
And  thou  shouldst  tow  me  after :   o'er  my  spirit 
Thy  full  supremacy  thou  knew'st,  and  that 
Thy  beck  might  from  the  bidding  of  the  gods         60 

92 


ANTONY  AND  CLEOPATRA      Act  III.  Sc.  xii. 

Command  nie. 

Cleo.  O,  my  pardon ! 

Ant.  Now  I  must 

To  the  young  man  send  humble  treaties,  dodge 
And  palter  in  the  shifts  of  lowness ;  who 
With  half  the  bulk  o'  the  world  play'd  as  I  pleased, 
Making  and  marring  fortunes.    You  did  know 
How  much  you  were  my  conqueror,  and  that 
My  sword,  made  weak  by  my  affection,  would 
Obey  it  on  all  cause. 

Cleo.  Pardon,  pardon  ! 

Ant.  Fall  not  a  tear,  I  say  ;  one  of  them  rates 

All  that  is  won  and  lost :  give  me  a  kiss  ;  70 

Even  this  repays  me.    We  sent  our  schoolmaster ; 
Is  he  come  back  ?    Love,  I  am  full  of  lead. 
Some  wine,  within  there,  and  our  viands !     Fortune 

knows 
We  scorn  her  most  when  most  she  offers  blows. 

[Exeunt. 

Scene  XIL 

Egypt.     Ccusar's  camp. 
Enter  Ccusar,  Dolahella,  Thyrens,  zuitk  others. 

Ccus.  Let  him  appear  that 's  come  from  Antony. 
Know  you  him  ? 

Dol,       .  Caesar,  'tis  his  schoolmaster :  .. 

An  argument  that  he  is  pluckM,  when  hither 
He  sends  so  poor  a  pinion  of  his  wing. 
Which  had  superfluous  kings  for  messengers 
Not  many  moons  gone  by. 


93 


Act  III.  Sc.  xii.      ANTONY  AND  CLEOPATRA 

Enter  Euphronius,  ambassador  from  Antony. 

CcFS.  Approach,  and  speak. 

Euph.  Such  as  I  am,  I  come  from  Antony : 
I  was  of  late  as  petty  to  his  ends 
As  is  the  morn-dew  on  the  myrtle-leaf 
To  his  grand  sea. 

Cces.  Be 't  so :  declare  thine  office.  lo 

Euph.  Lord  of  his  fortunes  he  salutes  thee,  and 
Requires  to  live  in  Egypt :  which  not  granted. 
He  lessens  his  requests,  and  to  thee  sues 
To  let  him  breathe  between  the  heavens  and  earth, 
A  private  man  in  Athens :  this  for  him. 
Next,  Cleopatra  does  confess  thy  greatness; 
Submits  her  to  thy  might,  and  of  thee  craves 
The  circle  of  the  Ptolemies  for  her  heirs, 
Now  hazarded  to  thy  grace. 

Cces.  ^  For  Antony, 

I  have  no  ears  to  his  request.    The  queen  20 

Of  audience  nor  desire  shall  fail,  so  she 
From  Egypt  drive  her  all-disgraced  friend, 
Or  take  his  life  there  :  this  if  she  perform. 
She  shall  not  sue  unheard.    So  to  them  both. 

Euph.  Fortune  pursue  thee ! 

CcBS.  Bring  him  through  the  bands. 

[Exit  Euphronius. 
[To  Thyreiu]   To  try  thy  eloquence,  now  'tis  time: 

dispatch ; 
From  Antony  win  Cleopatra :  promise. 
And  in  our  name,  what  she  requires ;  add  more. 
From  thine  invention,  offers  :  women  are  not  29 

In  their  best  fortunes  strong,  but  want  will  perjure 

94 


ANTONY  AND  CLEOPATRA     Act  III.  Sc.  xiii. 

The  ne'er-touch'd  vestal :   try  thy  cunning,  Thyreus ; 

I^Iake  thine  own  edict  for  thy  pains,  which  we 

Will  answer  as  a  law. 
Thyr.  Caesar,  I  go. 

Cces.  Observe  how  Antony  becomes  his  flaw, 

And  what  thou  think'st  his  very  action  speaks 

In  every  power  that  moves. 
Thyr.  Caesar,  I  shall.     [Exeunt. 

Scene  XIII. 

Alexandria.     Cleopatra's  palace. 
Enter  Cleopatra,  Enobarbns,  Charmian,  and  Iras. 

Cleo.  What  shall  we  do,  Enobarbus  ? 

Eno.  Think,  and  die. 

Cleo.  Is  Antony  or  we  in  fault  for  this  ? 

Eno.  Antony  only,  that  would  make  his  will 

Lord  of  his  reason.     What  though  you  fled 
From  that  great  face  of  war,  whose  several  ranges 
Frighted  each  other,  why  should  he  follow  ? 
The  itch  of  his  affection  should  not  then 
Have  nick'd  his  captainship ;  at  such  a  point. 
When  half  to  half  the  world  opposed,  he  being 
The  mered  question  :  'twas  a  shame  no  less  lo 

Than  was  his  loss,  to  course  your  flying  flags 
And  leave  his  navy  gazing. 

Cleo.  Prithee,  peace. 

Enter  Antony,  with  Euphronitis  the  Ambassador. 

Ant.  Is  that  his  answer? 

Euph.  Ay,  my  lord. 

Ant.  The  queen  shall  then  have  courtesy,  so  she 

95 


Act  III.  Sc.  xiii.     ANTONY  AND  CLEOPATRA 

Will  yield  us  up. 

En  ph.  He  says  so. 

Ant.  Let  her  know  't. 

To  the  boy  Caesar  send  this  grizzled  head, 
And  he  will  fill  thy  wishes  to  the  brim 
With  principalities. 

Cleo.  That  head,  my  lord  ? 

Ant.  To  him  again  :  tell  him  he  wears  the  rose  20 

Of  youth  upon  him,  from  which  the  world  should 

note 
Something  particular :  his  coin,  ships,  legions, 
May  be  a  coward's,  whose  ministers  would  prevail 
Under  the  service  of  a  child  as  soon 
As  i'  the  command  of  Caesar :  I  dare  him  therefore 
To  lay  his  gay  comparisons  apart 
And  answer  me  declined,  sword  against  sword. 
Ourselves  alone.    I  '11  write  it :  follow  me. 

[Exeunt  Antony  and  Euphronius. 

Eno.    [Aside]   Yes,  like  enough,  high-battled  Caesar  will 
Unstate  his  happiness  and  be  staged  to  the  show      30 
Against  a  sworder!     I  see  men's  judgements  are 
A  parcel  of  their  fortunes,  and  things  outward 
Do  draw  the  inward  quality  after  them. 
To  suffer  all  alike.    That  he  should  dream, 
Knowing  all  measures,  the  full  Caesar  will 
Answer  his  emptiness  !    Caesar,  thou  hast  subdued 
His  judgement  too. 

Enter  an  Attendant. 

Att.  A  messenger  from  Caesar. 

Cleo.  What,  no  more  ceremony?     See,  my  women. 
Against  the  blown  rose  may  they  stop  their  nose 
96 


ANTONY  AND  CLEOPATRA     Act  III.  Sc.  xiii. 

That  kneel'd  unto  the  buds.    Admit  him,  sir.  40 

[Exit  Attend, 
Eno,   [Aside]    Mine  honesty  and  I  begin  to  square. 
The  loyalty  well  held  to  fools  does  make 
Our  faith  mere  folly :  yet  he  that  can  endure 
To  follow  with  allegiance  a  fall'n  lord 
Does  conquer  him  that  did  his  master  conquer, 
And  earns  a  place  i'  the  story. 

Enter  Thy  reus, 

Cleo.  Caesar's  will  ? 

Thyr.  Hear  it  apart. 

Cleo.  None  but  friends  :   say  boldly. 

Thyr.  So,  haply,  are  they  friends  to  Antony. 
Eno.  He  needs  as  many,  sir,  as  Caesar  has. 

Or  needs  not  us.    If  Caesar  please,  our  master  50 

Will  leap  to  be  his  friend :  for  us,  you  know. 

Whose  he  is  we  are,  and  that  is  Caesar's. 
Thyr.  So. 

Thus  then,  thou  most  renown'd  :  Caesar  entreats 

Not  to  consider  in  what  case  thou  stand'st 

Further  than  he  is  Caesar. 
Cleo.  Go  on  :   right  royal. 

Thyr.  He  knows  that  you  embrace  not  Antony 

As  you  did  love,  but  as  you  fear'd  him. 
Cleo.  O ! 

Thyr.  The  scars  upon  your  honour  therefore  he 

Does  pity  as  constrained  blemishes. 

Not  as  deserved. 
Cleo.  He  is  a  god  and  knows  60 

What  is  most  right :  mine  honour  was  not  yielded, 

But  conquer'd  merely. 

97 


Act  III.  Sc  xiii.     ANTONY  AND  CLEOPATRA 

Eno.  [Aside]  To  be  sure  of  that, 

I  will  ask  Antony.     Sir,  sir,  thou  art  so  leaky 

That  we  must  leave  thee  to  thy  sinking,  for 

Thy  dearest  quit  thee.  {Exit. 

Thyr.  Shall  I  say  to  Caesar 

What  you  require  of  him  ?    for  he  partly  begs 

To  be  desired  to  give.    It  much  would  please  him, 

That  of  his  fortunes  you  should  make  a  staff 

To  lean  upon :  but  it  would  warm  his  spirits. 

To  hear  from  me  you  had  left  Antony,  yo 

And  put  yourself  under  his  shrowd. 

The  universal  landlord. 

Cleo.  What 's  your  name  ? 

Thyr.   My  name  is  Thyreus. 

Cleo.  Most  kind  messenger, 

Say  to  great  Caesar  this  :  in  deputation 
I  kiss  his  conquering  hand  :  tell  him,  I  am  prompt 
To  lay  my  crown  at 's  feet,  and  there  to  kneel : 
Tell  him,  from  his  all-obeying  breath  I  hear 
The  doom  of  Egypt. 

Thyr.  'Tis  your  noblest  course. 

Wisdom  and  fortune  combating  together, 
If  that  the  former  dare  but  what  it  can,  8o 

Xo  chance  may  shake  it.     Give  me  grace  to  lay 
My  duty  on  your  hand. 

Cleo.  Your  Caesar's  father  oft, 

Wlien  he  hath  mused  of  taking  kingdoms  in, 
Bestow'd  his  lips  on  that  unworthy  place, 
As  it  rain'd  kisses. 

Re-enter  Antony  and  Enobarbus. 
Ant.  Favours,  by  Jove  that  thunders  ! 

98 


ANTONY  AND  CLEOPATRA     Act  III.  Sc.  xiii. 

What  art  thou,  fellow  ? 
Thyr.  One  that  but  performs 

The  bidding  of  the  fullest  man  and  worthiest 

To  have  command  obey'd. 
Eno.  [Aside]   You  will  be  whipp'd. 

Ant.  Approach,  there!     Ah,  you  kite!     Now,  gods  and 
devils ! 

Authority  melts  from  me  :  of  late,  when  I  cried  'Ho !' 

Like  boys  unto  a  muss,  kings  would  start  forth,      91 

And  cry  '  Your  will  ? '     Have  you  no  ears  ? 

I  am  Antony  yet. 

Enter  Attendants. 

Take  hence  this  Jack,  and  whip  him. 

Eno.   \^Aside]   'Tis  better  playing  with  a  lion's  whelp 
Than  wath  an  old  one  dying. 

Ant.  Moon  and  stars! 

Whip  him.    Were  't  twenty  of  the  greatest  tributaries 
That  do  acknowledge  Caesar,  should  I  find  them 
So  saucy  with  the  hand  of  she  here, — what 's  her 

name. 
Since  she  was  Cleopatra  ?     Whip  him,  fellows, 
Till,  like  a  boy,  you  see  him  cringe  his  face,  lOO 

And  whine  aloud  for  mercy :   take  him  hence. 

Thyr.  Mark  Antony, — 

Ant.  Tug  him  away  :   being  whipp'd, 

Bring  him  again  :   this  Jack  of  Caesar's  shall 
Bear  us  an  errand  to  him. 

[Exeunt  Attendants,  zvith  Thyreus. 
You  were  half  blasted  ere  I  knew  you :   ha ! 
Have  I  my  pillow  left  unpress'd  in  Rome, 
Forborne  the  getting  of  a  lawful  race, 

99 


Act  III.  Sc.  xiii.     ANTONY  AND  CLEOPATRA 

And  by  a  gem  of  women,  to  be  abused 
By  one  that  looks  on  feeders? 

Cleo.  Good  my  lord, — 

Ant.  You  have  been  a  boggier  ever:  no 

But  when  we  in  our  viciousness  grow  hard — 
O  misery  on  't ! — the  wise  gods  seel  our  eyes  ; 
In  our  own  filth  drop  our  clear  judgements  ;  make  us 
Adore  our  errors  ;   laugh  at 's  while  we  strut 
To  our  confusion. 

Cleo.  O,  is  't  come  to  this  ? 

Ant.  I  found  you  as  a  morsel  cold  upon 

Dead  Caesar's  trencher ;  nay,  you  were  a  fragment 
Of  Cneius  Pompey's ;   besides  what  hotter  hours, 
Unregister'd  in  vulgar  fame,  you  have 
Luxuriously  pick'd  out:   for  I  am  sure,  120 

Though  you  can  guess  what  temperance  should  be, 
You  know  not  what  it  is. 

Cleo.  Wherefore  is  this? 

Ant.  To  let  a  fellow  that  will  take  rewards 

And  say  '  God  quit  you ! '   be  familiar  with 

My  playfellow,  your  hand,  this  kingly  seal 

And  plighter  of  high  hearts !     O,  that  I  were 

Upon  the  hill  of  Basan,  to  outroar 

The  horned  herd!   for  I  have  savage  cause; 

And  to  proclaim  it  civilly,  were  like 

A  halter'd  neck  which  does  the  hangman  thank     130 

For  being  yare  about  him. 

Re-enter  Attendants,  with  Thyreus.  - 

Is  he  whipp'd? 
First  Att.  Soundly,  my  lord. 
Ant,  Cried  he?   and  begg'd  he  pardon: 


ANTONY  AND  CLEOPATRA     Act  III.  Sc.  xiii. 

First  Att.  He  did  ask  favour. 

Atit.  If  that  thy  father  Hve,  let  him  repent 

Thou  wast  not  made  his  daughter ;  and  be  thou  sorry 

To  follow  Caesar  in  his  triumph,  since 

Thou  hast  been  whipp'd  for  following  him  :  henceforth 

The  white  hand  of  a  lady  fever  thee, 

Shake  thou  to  look  on  't.     Get  thee  back  to  Caesar, 

Tell  him  thy  entertainment :   look  thou  say  140 

He  makes  me  angry  with  him ;   for  he  seems 

Proud  and  disdainful,  harping  on  what  I  am, 

Not  what  he  knew  I  was  :  he  makes  me  angry ; 

And  at  this  time  most  easy  'tis  to  do  't, 

When  my  good  stars  that  were  my  former  guides 

Have  empty  left  their  orbs  and  shot  their  fires 

Into  the  abysm  of  hell.     If  he  mislike 

My  speech  and  what  is  done,  tell  him  he  has 

Hipparchus,  my  enfranched  bondman,  whom 

He  may  at  pleasure  whip,  or  hang,  or  torture,      150 

As  he  shall  like,  to  quit  me :   urge  it  thou : 

Hence  with  thy  stripes,  begone!  [Exit  Thyreiis. 

Cleo.  Have  you  done  yet  ? 

Ant.  Alack,  our  terrene  moon 

Is  now  eclipsed,  and  it  portends  alone 
The  fall  of  Antony. 

Cleo.  I  must  stay  his  time. 

Ant.  To  flatter  Caesar,  would  you  mingle  eyes 
With  one  that  ties  his  points  ? 

Cleo.  Not  know  me  yet? 

Ant.  Cold-hearted  toward  me? 

Cleo.  Ah,  dear,  if  I  be  so, 

From  my  cold  heart  let  heaven  engender  hail, 
And  poison  it  in  the  source,  and  the  first  stone        160 

lOI 


Act  III.  Sc.  xiii.     ANTONY  AND  CLEOPATRA 

Drop  in  my  neck:   as  it  determines,  so 
Dissolve  my  life !     The  next  Csesarion  smite ! 
Till  by  degrees  the  memory  of  my  womb, 
Together  with  my  brave  Egyptians  all, 
By  the  discandying  of  this  pelleted  storm 
Lie  graveless,  till  the  flies  and  gnats  of  Nile 
Have  buried  them  for  prey ! 

Ant.  I  am  satisfied. 

Caesar  sits  down  in  Alexandria,  where 
I  will  oppose  his  fate.     Our  force  by  land 
Hath  nobly  held ;   our  sever'd  navy  too  170 

Have  knit  again,  and  fleet,  threatening  most  sea-like. 
Where  hast  thou  been,  my  heart?     Dost  thou  hear, 

lady? 
If  from  the  field  I  shall  return  once  more 
To  kiss  these  lips,  I  will  appear  in  blood ; 
I  and  my  sword  will  earn  our  chronicle : 
There  's  hope  in  't  yet. 

Cleo.  That  's  my  brave  lord ! 

Ant.  I  will  be  treble-sinew'd,  hearted,  breath'd. 
And  fight  maliciously :    for  when  mine  hours 
Were  nice  and  lucky,  men  did  ransom  lives  180 

Of  me  for  jests ;  but  now  I  '11  set  my  teeth, 
And  send  to  darkness  all  that  stop  me.     Come, 
Let 's  have  one  other  gaudy  night :   call  to  me 
All  my  sad  captains  ;  fill  our  bowls  once  more  : 
Let 's  mock  the  midnight  bell. 

Cleo.  It  is  my  birth-day  : 

I  had  thought  to  have  held  it  poor,  but  since  my  lord 
Is  Antony  again,  I  will  be  Cleopatra. 

Ant.  We  will  yet  do  well. 

Cleo.  Call  all  his  noble  captains  to  my  lord. 

102 


ANTONY  AND  CLEOPATRA  Act  IV.  Sc.  i. 

Ant.  Do  so,  we  '11  speak  to  them  ;  and  to-night  I  '11  force 
The  wine  peep  through  their  scars.     Come  on,  my 
queen ;  ^9^ 

There  's  sap  in  't  yet.     The  next  time  I  do  fight 
I  '11  make  death  love  me,  for  I  will  contend 
Even  with  his  pestilent  scythe. 

[Exeunt  all  but  Enobarbus. 

Eno.  Now  he  '11  outstare  the  Hghtning.     To  be  furious 
Is  to  be  frighted  out  of  fear ;   and  in  that  mood 
The  dove  will  peck  the  estridge ;   and  I  see  still, 
A  diminution  in  our  captain's  brain 
Restores  his  heart :   when  valour  preys  on  reason, 
It  eats  the  sword  it  fights  with.     I  will  seek         200 
Some  way  to  leave  him.  {Exit. 

ACT  FOURTH. 
Scene  I. 

Before  Alexandria.     Cccsar's  camp. 

Enter  Cccsar,  A  grip  pa,  and  Mcecenas,  ivith  his  army: 
Ccosar  reading  a  letter. 

Cccs.  He  calls  me  boy,  and  chides  as  he  had  power 
To  beat  me  out  of  Egypt ;  my  messenger 
He  hath  whipp'd  with  rods;    dares  me  to  personal 

combat, 
Caesar  to  Antony.     Let  the  old  ruffian  know 
I  have  many  other  ways  to  die,  meantime 
Laugh  at  his  challenge. 

^f(sc.  Csesar  must  think, 

When  one  so  great  begins  to  rage,  he  's  hunted 
Even  to  falling.     Give  him  no  breath,  but  now 
103 


Act  IV.  Sc.  ii.         ANTONY  AND  CLEOPATRA 

Make  boot  of  his  distraction.     Never  anger 
Made  good  guard  for  itself. 
C(ES.  Let  our  best  heads         lo 

Know  that  to-morrow  the  last  of  many  battles 
We  mean  to  fight.     Within  our  files  there  are, 
Of  those  that  served  Mark  Antony  but  late, 
Enough  to  fetch  him  in.     See  it  done : 
And  feast  the  army  ;  we  have  store  to  do  't, 
And  they  have  earn'd  the  waste.     Poor  Antony! 

\_Exeunt. 

Scene  IL 

Alexandria.     Cleopatra's  palace. 

Enter  Antony,  Cleopatra,  Enobarbus,  Charmian,  Iras, 
A  lex  as,  with  others. 

Ant.  Hcji^^ill  not  fight  with  me,  Domitius? 

Eno.  No. 

Ant.  Why  should  he  not? 

Eno.  He  thinks,  being  twenty  times  of  better  fortune. 
He  is  twenty  men  to  one. 

Ant.  To-morrow,  soldier. 

By  sea  and  land  I  '11  fight :   or  I  will  live. 
Or  bathe  my  dying  honour  in  the  blood 
Shall  make  it  live  again.     Woo  't  thou  fight  well  ? 

Eno.  I  '11  strike,  and  cry  '  Take  all.' 

Ant.  Well  said ;   come  on. 

Call  forth  my  household  servants  :  let 's  to-night 
Be  bounteous  at  our  meal. 

Enter  three  or  four  Servitors. 

Give  me  thy  hand,  lo 

Thou  hast  been  rightly  honest ; — so  hast  thou ; — 

104 


ANTONY  AND  CLEOPATRA         Act  IV.  Sc.  ii. 

Thou, — and  thou, — and  thou  :    you  have  served  me 

well. 
And  kings  have  been  your  fellows. 

Cleo.  [Aside  to  Eno.\   What  means  this? 

Eno.    [Aside  to  Cleo.]   'Tis  one  of  those  odd  tricks  which 
sorrow  shoots 
Out  of  the  mind. 

Ant.  And  thou  art  honest  too. 

I  wish  I  could  be  made  so  many  men. 
And  all  of  you  clapp'd  up  together  in 
An  Antony,  that  I  might  do  you  service 
So  good  as  you  have  done. 

Serv.  The  gods  forbid ! 

Ant.  Well,  my  good  fellows,  wait  on  me  to-night:         20 
Scant  not  my  cups,  and  make  as  much  of  me 
As  when  mine  empire  was  your  fellow  too 
And  suffer'd  my  command. 

Cleo.  [Aside  to  Eno.  ]  What  does  he  mean  ? 

Eno.    [Aside  to  Cleo.]   To  make  his  followers  weep. 

Ant.  Tend  me  to-night ; 

May  be  it  is  the  period  of  your  duty : 
Haply  you  shall  not  see  me  more ;   or  if, 
A  mangled  shadow  :   perchance  to-morrow 
You  '11  serve  another  master.     I  look  on  you 
As  one  that  takes  his  leave.     Mine  honest  friends, 
I  turn  you  not  away  ;  but,  like  a  master  30 

Married  to  your  good  service,  stay  till  death : 
Tend  me  to-night  two  hours,  I  ask  no  more, 
And  the  gods  yield  you  for  't ! 

Eno.  What  mean  you,  sir. 

To  give  them  this  discomfort  ?     Look,  they  weep. 
And  I,  an  ass,  am  onion-eyed :   for  shame, 

105  • 


Act  IV.  Sc.  iii.        ANTONY  AND  CLEOPATRA 

Transform  us  not  to  women. 
Ant.  Ho,  ho,  ho! 

Now  the  witch  take  me,  if  I  meant  it  thus ! 
Grace   grow   where   those   drops    fall !     My   hearty 

friends. 
You  take  me  in  too  dolorous  a  sense ; 
For   I   spake  to  you   for  your  comfort,   did   desire 
you  40 

To  burn  this  night  with  torches  :   know,  my  hearts, 
I  hope  well  of  to-morrow,  and  will  lead  you 
Where  rather  I  '11  expect  victorious  life 
Than  death  and  honour.     Let 's  to  supper,  come. 
And  drown  consideration.  [Exeunt. 

Scene  III. 

The  same.     Before  the  palace. 

Enter  two  Soldiers  to  their  guard. 

First  Sold.  Brother,  good  night :  to-morrow  is  the  day. 
Sec.  Sold.  It  will  determine  one  way :    fare  you  well. 
Heard  you  of  nothing  strange  about  the  streets  ? 
First  Sold.  Nothing.     What  news  ? 

Sec.  Sold.  Belike  'tis  but  a  rumour.     Good  night  to  you. 
First  Sold.  Well,  sir,  good  night. 

Enter  two  other  Soldiers. 

Sec.  Sold.  Soldiers,  have  careful  watch. 

Third  Sold.  And  you.     Good  night,  good  night. 

[They  place  themselves  in  every  corner  of  the  stage. 
Fourth  Sold.  Here  we :   and  if  to-morrow 

Our  navy  thrive,  I  have  an  absolute  hope  10 

Our  landmen  will  stand  up. 

•  106 


ANTONY  AND  CLEOPATRA       Act  IV.  Sc.  iv. 

Third  Sold.  'Tis  a  brave  army, 

And  full  of  purpose. 

[Music  of  hautboys  as  under  the  stage. 
Fourth  Sold.  Peace  !  what  noise  ? 

First  Sold.    ^  List,  list ! 

Sec.  Sold.  Hark! 
First  Sold.  Music  i'  the  air. 

Third  Sold.  Under  the  earth. 

Fourth  Sold.  It  signs  well,  does  it  not? 
Third  Sold.  No. 

First  Sold.  Peace,  I  say ! 

What  should  this  mean  ? 
Sec.  Sold.  'Tis  the  god  Hercules,  whom  Antony  loved, 

Now  leaves  him. 
First  Sold.  Walk  ;  let 's  see  if  other  watchmen 

Do  hear  what  we  do. 
Sec.  Sold.  How  now,  masters  ! 
All.   [Speaking  together]   How  now !  How  now  !  Do  you 

hear  this  ? 
First  Sold.  Ay  ;  is  't  not  strange  ?  20 

Third  Sold.  Do  you  hear,  masters?   do  you  hear? 
First  Sold.  Follow  the  noise  so  far  as  we  have  quarter ; 

Let 's  see  how  it  will  give  off. 
All.  Content.     'Tis  strange.  [Exeunt. 

Scene  IV. 

The  same.    A  room  in  the  palace. 

Enter  Antony  and  Cleopatra,  Charmian  and  others 
attending. 

Ant.  Eros  !  mine  armour,  Eros  ! 
Cleo.  Sleep  a  little. 

Ant.  No,  my  chuck.     Eros,  come;  mine  armour,  Eros! 

107 


Act  IV.  Sc.  iv,        ANTONY  AND  CLEOPATRA 

Enter  Eros  with  armour. 

Come,  good  fellow,  put  mine  iron  on : 

If  fortune  be  not  ours  to-day,  it  is 

Because  we  brave  her :   come. 
Cleo.  Nay,  I  '11  help  too. 

What's  this  for? 
Ant.  Ah,  let  be,  let  be !   thou  art 

The  armourer  of  my  heart :  false,  false  ;  this,  this. 
Cleo.  Sooth,  la,  I  '11  help :  thus  it  must  be. 
Ant.  Well,  well; 

W^e  shall  thrive  now.    Seest  thou,  my  good  fellow  ? 

Go  put  on  thy  defences. 
Eros.  Briefly,  sir.  lo 

Cleo.  Is  not  this  buckled  well  ? 
Ant.  Rarely,  rarely: 

He  that  unbuckles  this,  till  we  do  please 

To  daff't  for  our  repose,  shall  hear  a  storm. 

Thou  fumblest,  Eros  ;  and  my  queen  's  a  squire 

Alore  tight  at  this  than  thou  :  dispatch.    O  love, 

That  thou  couldst  see  my  wars  to-day,  and  knew'st 

The  royal  occupation  !  thou  shouldst  see 

A  workman  in  't. 

Enter  an  armed  Soldier. 

Good  morrow  to  thee ;  welcome : 
Thou  look'st  like  him  that  knows  a  warlike  charge : 
To  business  that  we  love  we  rise  betime,  20 

And  go  to  't  with  delight. 
Sold.  A  thousand,  sir, 

Early  though  't  be,  have  on  their  riveted  trim. 
And  at  the  port  expect  you. 

[Shout.     Trumpets  Hourish. 

108 


ANTONY  AND  CLEOPATRA         Act  IV.  Sc.  v. 

Enter  Captains  and  Soldiers. 

Capt.  The  morn  is  fair.    Good  morrow,  general. 

All.  Good  morrow,  general. 

^'^^-  'Tis  well  blown,  lads  : 

This  morning,  like  the  spirit  of  a  youth 
That  means  to  be  of  note,  begins  betimes. 
So,  so  ;  come,  give  me  that :   this  way ;   well  said. 
Fare  thee  well,  dame,  whate'er  becomes  of  me : 
This  is  a  soldier's  kiss  :  rebukeable  30 

And  worthy  shameful  check  it  were,  to  stand 
On  more  mechanic  compliment;   I  '11  leave  thee 
Now  like  a  man  of  steel.    You  that  will  fight. 
Follow  me  close  ;  I  '11  bring  you  to  't.    Adieu. 

[Exeunt  Antony,  Eros,  Captains,  and  Soldiers. 

Char.  Please  you,  retire  to  your  chamber. 

Cleo.  Lead  me. 

He  goes  forth  gallantly.    That  he  and  Caesar  might 

Determine  this  great  war  in  single  fight ! 

Then  Antony— but  now — Well,  on.  [Exeunt. 

Scene  V. 

Alexandria.    Antony's  camp. 

Trumpets  sound.     Enter  Antony  and  Eros;   a  Soldier 
meeting  them. 

Sold.  The  gods  make  this  a  happy  day  to  Antony ! 
Ant.  Would  thou  and  those  thy  scars  had  once  prevail'd 

To  make  me  fight  at  land ! 
Sold.  Hadst  thou  done  so. 

The  kings  that  have  revolted  and  the  soldier 

That  has  this  morning  left  thee  would  have  still 

Follow'd  thy  heels.     . 

109 


Act  IV.  Sc.  vi.        ANTONY  AND  CLEOPATRA 

Ant.  Who 's  gone  this  morning? 

Sold.  Who! 

One  ever  near  thee  :  call  for  Enobarbus, 
He  shall  not  hear  thee,  or  from  Caesar's  camp 
Say  '  I  am  none  of  thine.' 

Ant.  What  say'st  thou  ? 

Sold.  Sir, 

He  is  with  Caesar. 

Eros.  Sir,  his  chests  and  treasure  lo 

He  has  not  with  him. 

Ant.  Is  he  gone? 

Sold.  Most  certain. 

Ant.  Go,  Eros,  send  his  treasure  after;   do  it; 
Detain  no  jot,  I  charge  thee ;  write  to  him — 
I  will  subscribe — gentle  adieus  and  greetings ; 
Say  that  I  wish  he  never  find  more  cause 
To  change  a  master.     O,  my  fortunes  have 
Corrupted  honest  men  !    Dispatch.     Enobarbus ! 

[Exeunt. 

Scene  VI. 

Alexandria.     Ccesar's  camp. 

Flourish.     Enter  Cccsar  ivith  Agrippa,  Enobarbus^ 
and  others. 

Cccs.  Go  forth,  Agrippa,  and  begin  the  fight : 

Our  will  is  Antony  be  took  alive ; 

Make  it  so  known. 
^Agr,  Caesar,  I  shall.  [Exit 

Cccs,  The  time  of  universal  peace  is  near : 

Prove  this  a  prosperous  day,  the  three-nook'd  world 

Shall  bear  the  olive  freely.* 
no 


ANTONY  AND  CLEOPATRA        Act  IV.  Sc.  vi. 

Enter  a  Messenger. 

Mess.  Antony 

Is  come  into  the  field. 

Cces.  Go  charge  Agrippa 

Plant  those  that  have  revolted  in  the  van, 
That  Antony  may  seem  to  spend  his  fury  lo 

Upon  himself.  [Exeunt  all  hut  Enobarbus. 

Eno.  Alexas  did  revolt,  and  went  to  Jewry 

On  affairs  of  Antony ;   there  did  persuade 
Great  Herod  to  incline  himself  to  Caesar 
And  leave  his  master  Antony  :  for  this  pains 
Caesar  hath  hang'd  hirn.    Canidius  and  the  rest 
That  fell  away  have  entertainment,  but 
No  honourable  trust.     I  have  done  ill ; 
Of  which  I  do  accuse  myself  so  sorely 
That  I  will  joy  no  more. 

Enter  a  Soldier  of  Ccesar's. 

Sold.  Enobarbus,  Antony  20 

Hath  after  thee  sent  all  thy  treasure,  with 
His  bounty  overplus  :   the  messenger 
Came  on  my  guard,  and  at  thy  tent  is  now 
Unloading  of  his  mules. 

Eno.  I  give  it  you. 

Sold.  Mock  not,  Enobarbus  : 

I  tell  you  true :  best  you  safed  the  bringer 
Out  of  the  host ;   I  must  attend  mine  office. 
Or  would  have  done  't  myself.     Your  emperor 
Continues  still  a  Jove.  [Exit. 

Eno.  I  am  alone  the  villain  of  the  earth,  30 

And  feel  I  am  so  most.     O  Antony, 
Thou  mine  of  bounty,  how  wouldst  thou  have  paid 

III 


Act  IV.  Sc.  vii.       ANTONY  AND  CLEOPATRA 

My  better  service,  when  my  turpitude 

Thou  dost  so  crown  with  gold !  This  blows  my  heart : 

If  swift  thought  break  it  not,  a  swifter  mean 

Shall  outstrike  thought :  but  thought  will  do 't,  I  feel. 

I  fight  against  thee !    No :   I  will  go  seek 

Some  ditch  wherein  to  die ;  the  foul'st  best  fits 

My  latter  part  of  life.  [Exit. 

Scene  VII. 

Field  of  battle  between  the  camps. 

Alarum.  Drums  and  trumpets.  Enter  Agrippa  and  others. 

Agr.  Retire,  we  have  engaged  ourselves  too  far : 
Caesar  himself  has  work,  and  our  oppression 
Exceeds  what  we  expected.  [Exeunt. 

Alarums.    Enter  Antony,  and  Scarus  zvounded. 

Scar.  O  my  brave  emperor,  this  is  fought  indeed ! 

Had  we  done  so  at  first,  we  had  droven  them  home 

With  clouts  about  their  heads. 
Ant.  Thou  bleed'st  apace. 

Scar.  I  had  a  wound  here  that  was  like  a  T, 

But  now  'tis  made  an  H.  [Retreat  afar  oif. 

Ant.  They  do  retire. 

Scar.  We  '11  beat  'em  into  bench-holes :  I  have  yet 

Room  for  six  scotches  more.  lo 

Enter  Eros. 

Eros.  They  are  beaten,  sir,  and  our  advantage  serves 

For  a  fair  victory. 
Scar.  Let  us  score  their  backs 

And  snatch  'em  up,  as  we  take  hares,  behind : 

'Tis  sport  to  maul  a  runner. 

112 


ANTONY  AND  CLEOPATRA     Act  IV.  Sc.  viii. 

Ant.  I  will  reward  thee 

Once  for  thy  spritely  comfort,  and  ten-fold 
For  thy  good  valour.    Come  thee  on. 

Scar.  I  '11  halt  after.       [Exeunt. 

Scene  VIII. 

Under  the  zvalls  of  Alexandria. 

Alarum.     Enter  Antony,  in  a  march;  Scams,  zvith  others. 

Ant,  We  have  beat  him  to  his  camp :   run  one  before, 
And  let  the  queen  know  of  our  gests.    To-morrow, 
Before  the  sun  shall  see  's,  we  '11  spill  the  blood 
That  has  to-day  escaped.     I  thank  you  all  ; 
For  doughty-handed  are  you,  and  have  fought 
Not  as  you  served  the  cause,  but  as  't  had  been 
Each  man  's  like  mine ;  you  have  shown  all  Hectors. 
Enter  the  city,  clip  your  wives,  your  friends. 
Tell  them  your  feats ;  whilst  they  with  joyful  tears 
Wash  the  congealment  from  your  wounds  and  kiss 
The  honour'd  gashes  whole.    [To  Scams]    Give  me 
thy  hand ;  1 1 

Enter  Cleopatra,  attended. 

To  this  great  fairy  I  '11  commend  thy  acts, 
Make  her  thanks  bless  thee.     O  thou  day  o'  the  world, 
Chain  mine  arm'd  neck  ;  leap  thou,  attire  and  all, 
Through  proof  of  harness  to  my  heart,  and  there 
Ride  on  the  pants  triumphing ! 

Cleo.  Lord  of  lords ! 

O  infinite  virtue,  comest  thou  smiling  from 
The  world's  great  snare  uncaught  ? 

Ant.  My  nightingale, 

113 


Act  IV.  Sc.  ix.        ANTONY  AND  CLEOPATRA 

We   have   beat   them   to   their   beds.      What,    girl! 

though  grey 
Do  something  mingle  with  our  younger  brown,  yet 

'  ha'  we  20 

A  brain  that  nourishes  our  nerves  and  can 
Get  goal  for  goal  of  youth.     Behold  this  man ; 
Commend  unto  his  lips  thy  favouring  hand : 
Kiss  it,  my  warrior :   he  hath  fought  to-day 
As  if  a  god  in  hate  of  mankind  had 
Destroy'd  in  such  a  shape. 

Cleo.  I  '11  give  thee,  friend, 

An  armour  all  of  gold  ;  it  was  a  king's. 

Ant.  He  has  deserved  it,  were  it  carbuncled 

Like  holy  Phoebus'  car.    Give  me  thy  hand  : 
Through  Alexandria  make  a  jolly  march  :  30 

Bear  our  hack'd  targets  like  the  men  that  owe  them : 
Had  our  great  palace  the  capacity 
To  camp  this  host,  we  all  would  sup  together 
And  drink  carouses  to  the  next  day's  fate. 
Which  promises  royal  peril.     Trumpeters, 
With  brazen  din  blast  you  the  city's  ear ; 
Make  mingle  with  our  rattling  tabourines ; 
That  heaven  and  earth  may  strike  their  sounds  to- 
gether, 
Applauding  our  approach.  [Exeunt. 

Scene  IX. 

Ccesars  camp. 

Sentinels  at  their  post. 

First  Sold.  If  we  be  not  relieved  within  this  hour, 

W^e  must  return  to  the  court  of  guard :   the  night 
Is  shiny,  and  they  say  we  shall  embattle 

114 


ANTONY  AND  CLEOPATRA        Act  IV.  Sc.  ix. 

By  the  second  hour  i'  the  mom. 
Sec.  Sold.  This  last  day  was 

A  shrewd  one  to  's. 

Enter  Enobarbiis. 

Eno.  O,  bear  me  witness,  night, — 

Third  Sold.  What  man  is  this  ? 

Sec.  Sold.  Stand  close,  and  list  him. 

Eno.  Be  witness  to  me,  O  thou  blessed  moon, 

When  men  revolted  shall  upon  record 

Bear  hateful  memory,  poor  Enobarbus  did 

Before  thy  face  repent ! 
First  Sold.  Enobarbus ! 

Third  Sold.  Peace !  lo 

Hark  further. 
Eno.  O  sovereign  mistress  of  true  melancholy, 

The  poisonous  damp  of  night  disponge  upon  me, 

That  life,  a  very  rebel  to  my  will, 

May  hang  no  longer  on  me :   throw  my  heart 

Against  the  flint  and  hardness  of  my  fault ; 

Which,  being  dried  with  grief,  will  break  to  powder, 

And  finish  all  foul  thoughts.     O  Antony, 

Nobler  than  my  revolt  is  infamous, 

Forgive  me  in  thine  own  particular,  20 

But  let  the  world  rank  me  in  register 

A  master-leaver  and  a  fugitive : 

O  Antony!    O  Antony!  [Dies. 

Sec.  Sold.  Let 's  speak  to  him. 

First  Sold.  Let 's  hear  him,  for  the  things  he  speaks 

May  concern  Cassar. 
Third  Svld.  Let 's  do  so.     But  he  sleeps. 

First  Sold.  Swoons  rather ;    for  so  bad  a  prayer  as  his 

115 


Act  IV.  Sc.  x.-xi.    ANTONY  AND  CLEOPATRA 

Was  never  yet  for  sleep. 
Sec.  Sold,  Go  we  to  him. 

Third  Sold.  Awake,  sir,  awake ;   speak  to  us. 
Sec.  Sold.  Hear  you,  sir? 

First  Sold.  The  hand  of  death  hath  raught  him.     [Drums 
afar  off.]   Hark!   the  drums  30 

Demurely  wake  the  sleepers.     Let  us  bear  him 

To  the  court  of  guard ;  he  is  of  note :   our  hour 

Is  fully  out. 
Third  Sold.  Come  on,  then ;  he  may  recover  yet. 

[Exeunt  with  the  body. 

Scene  X. 

Between  the  two  camps. 
Enter  Antony  and  Scams,  zvith  their  army. 

Ant.  Their  preparation  is  to-day  by  sea; 

We  please  them  not  by  land. 
Scar.  For  both,  my  lord. 

Ant.  I  would  they  'Id  fight  i'  the  fire  or  i'  the  air ; 

We  'Id  fight  there  too.     But  this  it  is  ;   our  foot 

Upon  the  hills  adjoining  to  the  city 

Shall  stay  with  us :   order  for  sea  is  given ; 

They  have  put  forth  the  haven 

Where  their  appointment  we  may  best  discover 

And  look  on  their  endeavour.  [Exeunt. 

Scene  XL 

Another  part  of  the  same. 

Enter  Ccosar,  and  his  army. 

Cces.  But  being  charged,  we  will  be  still  by  land, 
Which,  as  I  take  't,  we  shall ;  for  his  best  force 

116 


ANTONY  AND  CLEOPATRA       Act  IV.  Sc.  xii. 

Is  forth  to  man  his  galleys.     To  the  vales, 

And  hold  our  best  advantage.  \_Exeunt. 

Scene  XII. 

Hills  adjoining  to  Alexandria. 
Enter  Antony  and  Scams. 

Ant.  Yet  they  are  not  join'd :  where  yond  pine  does  stand, 
I  shall  discover  all :   I  '11  bring  thee  word 
Straight,  how  'tis  like  to  go.  [Exit. 

Scar.  Swallows  have  built 

In  Cleopatra's  sails  their  nests :  the  augurers 
Say  they  know  not,  they  cannot  tell ;  look  grimly 
And  dare  not  speak  their  knowledge.     Antony 
Is  valiant,  and  dejected,  and  by  starts 
His  fretted  fortunes  give  him  hope,  and  fear. 
Of  what  he  has,  and  has  not. 

[Alarum  afar  off,  as  at  a  sea-fight. 

Re-enter  Antony. 

Ant.  All  is  lost; 

This  foul  Egyptian  hath  betrayed  me :  lo 

My  fleet  liath  yielded  to  the  foe ;   and  yonder 
They  cast  their  caps  up  and  carouse  together 
Like  friends  long  lost.     Triple-turn'd  whore !  'tis  thou 
Hast  sold  me  to  this  novice,  and  my  heart 
Makes  only  wars  on  thee.     Bid  them  all  fly ; 
For  when  I  am  revenged  upon  my  charm, 
I  have  done  all.     Bid  them  all  fly ;  begone. 

[Exit  Scams. 
O  sun,  thy  uprise  shall  I  see  no  more: 
Fortune  and  Antony  part  here,  even  here 

117 


Act  IV.  Sc.  xii.       ANTONY  AND  CLEOPATRA 

Do  we  shake  hands.     All  come  to  this  ?     The  hearts 
That  spaniel'd  me  at  heels,  to  whom  I  gave  21 

Their  wishes,  do  discandy,  melt  their  sweets 
On  blossoming  Csesar ;   and  this  pine  is  bark'd, 
That  overtopp'd  them  all.     Betray'd  I  am.     . 
O  this  false  soul  of  Egypt !   this  grave  charm, 
Whose  eye  beck'd  forth  my  wars  and  call'd  them 

home, 
Whose  bosom  was  my  crownet,  my  chief  end, 
Like  a  right  gipsy  hath  at  fast  and  loose 
Beguiled  me  to  the  very  heart  of  loss. 
What,  Eros,  Eros ! 

Enter  Cleopatra. 

Ah,  thou  spell!     Avaunt!         30 
Cleo,  Why  is  my  lord  enraged  against  his  love? 
Ant.  Vanish,  or  I  shalt  give  thee  thy  deserving, 

And  blemish  Caesar's  triumph.     Let  him  take  thee. 

And  hoist  thee  up  to  the  shouting  plebeians : 

Follow  his  chariot,  like  the  greatest  spot 

Of  all  thy  sex  :  most  monster-like,  be  shown 

For  poor' St  diminutives,  for  doits  ;  and  let 

Patient  Octavia  plough  thy  visage  up 

With  her  prepared  nails,  [Exit  Cleopatra. 

Tis  well  thou  'rt  gone, 
If  it  be  well  to  live  ;   but  better  'twere  40 

Thou  fell'st  into  my  fury,  for  one  death 
Might  have  prevented  many.     Eros,  ho ! 
The  shirt  of  Nessus  is  upon  me :   teach  me, 
Alcides,  thou  mine  ancestor,  thy  rage : 
Let  me  lodge  Lichas  on  the  horns  o'  the  moon. 
And  with  those  hands  that  grasp'd  tlie  heaviest  club 
118 


ANTONY  AND  CLEOPATRA     Act  IV.  Sc.  xiii. 

Subdue  my  worthiest  self.     The  witch  shall  die : 
To  the  young  Roman  boy  she  hath  sold  me,  and  I  fall 
Under  this  plot :   she  dies  for  't.     Eros,  ho  !       [Exit. 

Scene  XIII. 

Alexandria.     Cleopatra's  palace. 
Enter  Cleopatra,  Charniian,  Iras,  and  Mardian. 

Cleo.  Help  me,  my  women !   O,  he  is  more  mad 

Than  Telamon  for  his  shield ;  the  boar  of  Thessaly 
Was  never  so  emboss'd. 

Char.  To  the  monument! 

There  lock  yourself,  and  send  him  word  you  are  dead. 
The  soul  and  body  rive  not  more  in  parting 
Than  greatness  going  off. 

Cleo.  To  the  monument ! 

Mardian,  go  tell  him  I  have  slain  myself; 
Say  that  the  last  I  spoke  was  *  Antony,' 
And  word  it,  prithee,  piteously :   hence,  Mardian, 
And  bring  me  how   he   takes   my   death.     To   the 
monument !  [Exeunt.     lo 

Scene  XIV. 

The  same.     Another  room. 
Enter  Antony  and  Eros. 

Ant.  Eros,  thou  yet  behold'st  me  ? 

Eros.  Ay,  noble  lord. 

Ant.  Sometime  we  see  a  cloud  that 's  dragonish, 
A  vapour  sometime  like  a  bear  or  lion, 
A  tower'd  citadel,  a  pendent  rock, 
A  forked  mountain,  or  blue  promontory 

IIQ 


Act  IV.  Sc.  xiv.      ANTONY  AND  CLEOPATRA 

With  trees  upon  't,  that  nod  unto  the  world 

And  mock  our  eyes  with  air :    thou  hast  seen  these 

signs; 
They  are  black  vesper's  pageants. 

Eros.  Ay,  my  lord. 

Ant,  That  which  is  now  a  horse,  even  with  a  thought 

The  rack  dislimns  and  makes  it  indistinct  lo 

As  water  is  in  water. 

Eros.  It  does,  my  lord. 

Ant,  My  good  knave  Eros,  now  thy  captain  is 
Even  such  a  body :   here  I  am  Antony, 
Yet  cannot  hold  this  visible  shape,  my  knave. 
I  made  these  wars  for  Egypt ;   and  the  queen — 
Whose  heart  I  thought  I  had,  for  she  had  mine, 
Which,  whilst  it  was  mine,  had  annex'd  unto  't 
A  million  moe,  now  lost, — she,  Eros,  has 
Pack'd  cards  with  Caesar,  and  false-play'd  my  glory 
Unto  an  enemy's  triumph.  20 

Nay,  weep  not,  gentle  Eros ;   there  is  left  us 
Ourselves  to  end  ourselves. 

Enter  Mardian. 

O,  thy  vile  lady! 

She  has  robb'd  me  of  my  sword. 
Mar.  No,  Antony ; 

My  mistress  loved  thee,  and  her  fortunes  mingled 

With  thine  entirely. 
Ant.  Hence,  saucy  eunuch  ;   peace ! 

She  hath  betray'd  me,  and  shall  die  the  death. 
Mar,  Death  of  one  person  can  be  paid  but  once, 

And  that  she  has  discharged :   what  thou  wouldst  do 

Is  done  unto  thy  hand :  the  last  she  spake 

120 


ANTONY  AND  CLEOPATRA      Act  IV.  Sc.  xiv. 

Was  '  Antony  !   most  noble  Antony !  '  30 

Then  in  the  midst  a  tearing  groan  did  break 
The  name  of  x\ntony ;   it  was  divided 
Between  her  heart  and  Ups :    she  render'd  Ufe, 
Thy  name  so  buried  in  her. 
Ant.  Vead  then  ? 

Mar.  ^^^^• 

Ant.  Unarm,  Eros ;  the  long  day's  task  is  done, 

And  we  must  sleep.     [To  Mar.]    That  thou  depart' st 

hence  safe. 
Does  pay  thy  labour  richly ;   go.         [Exit  Mardian. 

Off,  pluck  off : 
The  seven-fold  shield  of  Ajax  cannot  keep 
The  battery  from  my  heart.     O,  cleave,  my  sides ! 
Heart,  once  be  stronger  than  thy  continent,  40 

Crack  thy  frail  case!     Apace,  Eros,  apace! 
No  more  a  soldier.     Bruised  pieces,  go ; 
You  have  been  nobly  borne.     From  me  awhile. 

[Exit  Eros. 

I  will  o'ertake  thee,  Cleopatra,  and 
Weep  for  my  pardon.     So  it  must  be,  for  now 
All  length  is'torture  :  since  the  torch  is  out, 
Lie  down  and  stray  no  farther :  now  all  labour 
Mars  what  it  does  ;  yea,  very  force  entangles 
Itself  with  strength :   seal  then,  and  all  is  done. 
Eros !— I  come,  my  queen.     Eros !— Stay  ^for  me  :  50 
Where   souls   do  couch  on  flowers,   we'll  hand  in 

hand, 
And    with    our    sprightly    port    make    the  ghosts 

gaze: 
Dido  and  her  ^neas  shall  want  troops, 
And  all  the  haunt  be  ours.     Come,  Eros,  Eros ! 


121 


Act  IV.  Sc.  xiv.     ANTONY  AND  CLEOPATRA 

Re-enter  Eros. 

Eros.  What  would  my  lord? 

Ant.  Since  Cleopatra  died 

I  have  lived  in  such  dishonour  that  the  gods 
Detest  my  baseness.     I,  that  with  my  sword 
Quarter'd  the  world,  and  o'er  green  Neptune's  back 
With  ships  made  cities,  condemn  myself  to  lack 
The  courage  of  a  woman  ;   less  noble  mind  60 

Than  she  which  by  her  death  our  Csesar  tells 
'  I  am  conqueror  of  myself.'     Thou  art  sworn,  Eros, 
That,  when  the  exigent  should  come — which  now 
Is  come  indeed — when  I  should  see  behind  me 
The  inevitable  prosecution  of 
Disgrace  and  horror,  that,  on  my  command, 
Thou  then  wouldst  kill  me :   do  't ;   the  time  is  come : 
Thou  strikest  not  me,  'tis  Csesar  thou  defeat'st. 
Put  colour  in  thy  cheek. 

Eros.  The  gods  withhold  me ! 

Shall  I  do  that  which  all  the  Parthian  darts,  70 

Though  enemy,  lost  aim  and  could  not? 

Ant.  Eros, 

Wouldst  thou  be  window'd  in  great  Rome,  and  see 
Thy  master  thus  with  pleach'd  arms,  bending  down 
His  corrigible  neck,  his  face  subdued 
To  penetrative  shame,  whilst  the  wheel'd  seat 
Of  fortunate  Caesar,  drawn  before  him,  branded 
His  baseness  that  ensued? 

Eros.  I  would  not  see  't. 

Ant.  Come,  then;   for  with  a  wound  I  must  be  cured. 
Draw  that  thy  honest  sword,  which  thou  hast  worn 
Most  useful  for  thy  country. 

122 


ANTONY  AND  CLEOPATRA       Act  IV.  Sc.  xiv. 

Eros.  O,  sir,  pardon  me!         80 

Ant.  When    I    did    make    thee    free,    sworest    thou    not 
then 

To  do  this  when  I  bade  thee  ?     Do  it  at  once ; 

Or  thy  precedent  services  are  all 

But  accidents  unpurposed.     Draw,  and  come. 
Eros.  Turn  from  me  then  that  noble  countenance, 

Wherein  the  worship  of  the  whole  world  lies. 
Ant.  Lo  thee!  [Turning  from  him. 

Eros.  My  sword  is  drawn. 
Ant.  Then  let  it  do  at  once 

The  thing  why  thou  hast  drawn  it. 
Eros.  My  dear  master, 

My  captain,  and  my  emperor,  let  me  say,  90 

Before  I  strike  this  bloody  stroke,  farewell. 
Ant.  Tis  said,  man  ;    and  farewell. 
Eros.  Farewell,  great  chief.     Shall  T  strike  now  ? 
Ant.  Now,  Eros. 

Eros.  Why,  there  then  :   thus  I  do  escape  the  sorrow 

Of  Antony's  death.  [Kills  himself. 

Ant.  Thrice-nobler  than  myself! 

Thou  teachest  me,  O  valiant  Eros,  what 

I    should    and    thou    couldst    not.     My    queen    and 
Eros 

Have  by  their  brave  instruction  got  upon  me 

A  nobleness  in  record :   but  I  will  be 

A  bridegroom  in  my  death,  and  run  into  't  100 

As  to  a  lover's  bed.     Come  then  ;   and,  Eros, 

Thy  master  dies  thy  scholar :   to  do  thus 

[Falling  on  his  sivord. 

I  learn'd  of  thee.     How  !   not  dead  ?  not  dead  ? 

The  guard,  ho  !     O,  dispatch  me ! 

T23 


Act  IV.  Sc.  xiv.      ANTONY  AND  CLEOPATRA 

Enter  Dercetas  and  Guard. 

First   Guard.  What 's  the  noise  ? 

Ant.  I  have  done  my  work  ill,  friends :   O,  make  an  end 

Of  what  I  have  begun. 
Sec.  Guard.  The  star  is  fall'n. 

First  Guard.  And  time  is  at  his  period. 
All,  Alas,  and  woe! 

Ant,  Let  him  that  loves  me  strike  me  dead. 
First  Guard.  Not  L 

Sec.  Guard.  Nor  L 

Third  Guard.  Nor  any  one.  [Exeunt  Guard,   no 

Der.  Thy  death  and  fortunes  bid  thy  followers  fly. 

This  sword  but  shown  to  Caesar,  with  this  tidings, 

Shall  enter  me  with  him. 

Enter  Diomedes. 

Dio.  Where  's  Antony  ? 

JJer.  There,  Diomed,  there. 

Dio.  Lives  he? 

Wilt  thou  not  answer,  man?  [Exit  Dercetas. 

Ant.  Art  thou   there,   Diomed?     Draw   thy   sword,  and 
give  me 

Sufficing  strokes  for  death. 
Dio.  Most  absolute  lord, 

My  mistress  Cleopatra  sent  me  to  thee. 
Ant.  Whfen  did  she  send  thee? 
Dio.  Now,  my  lord. 

Ant.  Where  is  she? 

Dio.  Lock'd  in  her  monument.     She  had  a  prophesying 
fear  120 

Of  what  hath  come  to  pass  :  for  when  she  saw — 

124 


ANTONY  AND  CLEOPATRA       Act  IV.  Sc.  xv. 

Which  never  shall  be  found — you  did  suspect 
She  had  disposed  with  Caesar,  and  that  your  rage 
Would  not  be  purged,  she  sent  you  word  she  was  dead ; 
But,  fearing  since  how  it  might  work,  hath  sent 
Me  to  proclaim  the  truth ;  and  I  am  come, 
I  dread,  too  late. 

Ant.  Too  late,  good  Diomed :   call  my  guard,  I  prithee. 

Dio.  What,  ho,  the  emperor's  guard!     The  guard,  what, 
ho! 
Come,  your  lord  calls.  130 

Enter  four  or  five  of  the  Guard  of  Antony. 

Ant.  Bear  me,  good  friends,  where  Cleopatra  bides ; 
'Tis  the  last  service  that  I  shall  command  you. 

First  Guard.  Woe,  woe  are  we,  sir,  you  may  not  live  to  wear 
All  your  true  followers  out. 

All.  Most  heavy  day! 

Ant.  Nay,  good  my  fellows,  do  not  please  sharp  fate 
To  grace  it  with  your  sorrows :   bid  that  welcome 
Which  comes  to  punish  us,  and  we  punish  it 
Seeming  to  bear  it  lightly.     Take  me  up : 
I  have  led  you  oft:  carry  me  now,  good  friends,  139 
And  have  my  thanks  for  all. 

[Exeunt,  bearing  Antony. 

Scene  XV. 

The  same.     A  monument. 

Enter  Cleopatra,  and  her  maids  aloft,  with  Charmian, 
and  Iras. 

Cleo.  O  Charmian,  I  will  never  go  from  hence. 

Char.  Be  comforted,  dear  madam. 

Cleo:  No,  I  will  not : 

125 


Act  IV.  Sc.  XV.       ANTONY  AND  CLEOPATRA 

All  strange  and  terrible  events  are  welcome, 
But  comforts  we  despise ;  our  size  of  sorrow, 
Proportion'd  to  our  cause,  must  be  as  great 
As  that  which  makes  it. 

Enter,  below,  Diomedes. 

How  now !  is  he  dead  ? 
Dio.  His  death  's  upon  him,  but  not  dead. 

Look  out  o'  the  other  side  your  monument ; 
His  guard  have  brought  him  thither. 

Enter,  belozv,  Antony,  home  by  the  Guard. 

Cleo.  O  sun. 

Burn  the  great  sphere  thou  movest  in  !  darkling  stand 

The  varying  shore  o'  the  world.     O  Antony,  1 1 

Antony,  Antony !     Help,  Charmian,  help,  Iras,  help ; 

Help,  friends  below ;   let 's  draw  him  hither. 
Ant.  Peace ! 

Not  Caesar's  valour  hath  o'erthrown  Antony, 

But  Antony's  hath  triumphed  on  itself. 
Cleo.  So  it  should  be,  that  none  but  Antony 

Should  conquer  Antony ;  but  woe  'tis  so ! 
Ant,  I  am  dying,  Egypt,  dying ;  only 

I  here  importune  death  awhile,  until 

Of  many  thousand  kisses  the  poor  last  20 

I  lay  upon  thy  lips. 
Cleo.  I  dare  not,  dear, 

Dear  my  lord,  pardon,  I  dare  not, 

Lest  I  be  taken :  not  the  imperious  show 

Of  the  full-fortuned  Caesar  ever  shall 

Be  brooch'd  with  me ;  if  knife,  drugs,  serpents,  have 

Edge,  sting,  or  operation,  I  am  safe: 

126 


ANTONY  AND  CLEOPATRA       Act  IV.  Sc.  xv. 

Your  wife  Octavia,  with  her  modest  eyes 
And  still  conclusion,  shall  acquire  no  honour 
Demuring  upon  me.     But  come,  come,  Antony, — 
Help  me,  my  women, — we  must  draw  thee  up;     30 
Assist,  good  friends. 

Ant.  O,  quick,  or  I  am  gone. 

Cleo.  Here 's  sport  indeed!    How  heavy  weighs  my  lord! 
Our  strength  is  all  gone  into  heaviness  ; 
That  makes  the  weight.     Had  I  great  Juno's  power. 
The  strong-wing'd  Mercury  should  fetch  thee  up 
And  set  thee  by  Jove's  side.     Yet  come  a  little — 
Wishers  were  ever  fools — O,  come,  come,  come ; 

[They  heave  Antony  aloft  to  Cleopatra. 
And  welcome,  welcome  !  die  where  thou  hast  lived  : 
Quicken  with  kissing:   had  my  lips  that  power, 
Thus  would  I  wear  them  out. 

All.  A  heavy  sight!  40 

Ant.  I  am  dying,  Egypt,  dying: 

Give  me  some  wine,  and  let  me  speak  a  little. 

Cleo.  No,  let  me  speak,  and  let  me  rail  so  high. 

That  the  false  housewife  Fortune  break  her  wheel, 
Provoked  by  my  offence. 

Ant.  One  word,  sweet  queen: 

Of  Caesar  seek  your  honour,  with  your  safety.     O! 

Cleo.  They  do  not  go  together. 

Ant.  Gentle,  hear  me : 

None  about  Caesar  trust  but  Proculeius. 

Cleo.  My  resolution  and  my  hands  I  '11  trust; 

None  about  Caesar.  50 

Ant.  The  miserable  change  now  at  my  end 

Lament  nor  sorrow  at,  but  please  your  thoughts 

In  feeding  them  with  those  my  former  fortunes 

127 


Act  IV.  Sc.  XV.       ANTONY  AND  CLEOPATRA 

Wherein  I  lived,  the  greatest  prince  o'  the  world, 
The  noblest,  and  do  now  not  basely  die, 
Not  cowardly  put  off  my  helmet  to 
My  countryman,  a  Roman  by  a  Roman 
Valiantly  vanquish'd.    Now  my  spirit  is  going; 
I  can  no  more. 

Cleo.  Noblest  of  men,  woo't  die? 

Hast  thou  no  care  of  me? ,  shall  I  abide  60 

In  this  dull  world,  which  in  thy  absence  is 
No  better  than  a  sty?     O,  see,  my  women, 

[Antony  dies. 
The  crown  o'  the  earth  doth  melt.     My  lord ! 
O,  wither'd  is  the  garland  of  the  war, 
The  soldier's  pole  is  fall'n :  young  boys  and  girls 
Are  level  now  with  men;  the  odds  is  gone, 
And  there  is  nothing  left  remarkable 
Beneath  the  visiting  moon.  [Faints. 

Char.  O,  quietness,  lady! 

Iras.  She  's  dead  too,  our  sovereign. 

Char.  Lady ! 

Iras.  Madam ! 

Char.  O  madam,  madam,  madam ! 

Iras.  Royal  Egypt,  70 

Empress ! 

Char,  Peace,  peace,  Iras ! 

By  such  poor  passion  as  the  maid  that  milks 
And  does  the  meanest  chares.     It  were  for  me 
To  throw  my  sceptre  at  the  injurious  gods, 
To  tell  them  that  this  world  did  equal  theirs 
Till  they  had  stol'n  our  jewel.     All 's  but  naught; 
Patience  is  sottish,  and  impatience  does 
128 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  i. 

Become  a  dog  that 's  mad:  then  is  it  sin  80 

To  rush  into  the  secret  house  of  death, 

Ere  death  dare  come  to  us  ?     How  do  you,  women  ? 

What,  what !  good  cheer  !    Why,  how  now,  Charmian  ! 

My  noble  girls !     Ah,  women,  women,  look, 

Our  lamp  is  spent,  it 's  out!    Good  sirs,  take  heart: 

We'll  bury  him  ;  and  then,  what's  brave,  what's  noble, 

Let 's  do  it  after  the  high  Roman  fashion, 

And  make  death  proud  to  take  us.    Come,  away: 

This  case. of  that  huge  spirit  now  is  cold: 

Ah,  women,  womien!    Come;  we  have  no  friend    90 

But  resolution  and  the  briefest  end. 

[Exeunt:  those  aboz'e  bearing  off  Antony's  body. 

ACT  FIFTH. 
Scene  s. 

Alexandria.     Cccsar's  camp. 

Enter  Cccsar,  Agrippa,  Dolabella,  Mcecenas,  GaUiis, 
Proculeihs,  and  others,  his  council  of  zvar. 

Cccs.  Go  to  him,  Dolabella,  bid  him  yield ; 

Being  so  frustrate,  tell  him  he  mocks 

The  pauses  that  he  makes. 
Dol.  Caesar,  I  shall.  [Exit. 

Enter  Dercetas,  z^ith  the  szvord  of  Antony. 

Cccs.  Wlierefore  is  that?    and  what  art  thou  that  darest 
Appear  thus  to  us? 

Der.  I  am  callVl  Dercetas; 

Mark  Antony  I  served,  who  best  was  worthy 
Best  to  be  served:   whilst  he  stood  up  and  spoke, 
-9 


Act  V.  Sc.  i.  ANTONY  AND  CLEOPATRA 

He  was  my  master,  and  I  wore  my  life 

To  spend  upon  his  haters.     If  thou  please 

To  take  me  to  thee,  as  I  was  to  him  lo 

I  '11  be  to  Caesar;  if  thou  pleasest  not, 

I  yield  thee  up  my  life. 

Cces.  What  is  't  thou  say'st. 

Der.  I  say,  O  Caesar,  Antony  is  dead. 

C(Ts.  The  breaking  of  so  great  a  thing  should  make 
A  greater  crack:   the  round  world 
Should  have  shook  hons  into  civil  streets, 
And  citizens  to  their  dens.     The  death  of  Antony 
Is  not  a  single  doom ;  in  the  name  lay 
A  moiety  of  the  world. 

Der.  He  is  dead,  Caesar; 

Not  by  a  public  minister  of  justice,  20 

Nor  by  a  hired  knife;  but  that  self  hand. 

Which  writ  his  honour  in  the  acts  it  did, 

Hath,  with  the  courage  which  the  heart  did  lend  it, 

Splitted  the  heart.    This  is  his  sword; 

I  robb'd  his  wound  of  it;  behold  it  stain'd 

With  his  most  noble  blood. 

Cccs.  Look  you  sad,  friends? 

The  gods  rebuke  me,  but  it  is  tidings 
To  wash  the  eyes  of  kings. 

Agr.  And  strange  it  is 

That  nature  must  compel  us  to  lament 
Our  most  persisted  deeds. 

Merc.  His  taints  and  honours    30 

Waged  equal  with  him. 

Agr.  A  rarer  spirit  never 

Did  steer  humanity  :  but  you,  gods,  will  give  us 
Some  faults  to  make  us  men.    Caesar  is  touch'd. 

130 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  i. 

Mcec.  When  such  a  spacious  mirror  's  set  before  him, 
He  needs  must  see  himself. 

Cccs.  O  Antony  ! 

I  have  follow'd  thee  to  this.     But  we  do  lance 

Diseases  in  our  bodies:    \  must  perforce 

Have  shown  to  thee  such  a  declining  day, 

Or  look  on  thine;    we  could  not  stall  together 

In  the  whole  world:    but  yet  let  me  lament,         40 

With  tears  as  sovereign  as  the  blood  of  hearts, 

That  thou,  my  brother,  my  competitor 

In  top  of  all  design,  my  mate  in  empire, 

Friend  and  companion  in  the  front  of  war, 

The  arm  of  mine  own  body  and  the  heart 

Where  mine  his  thoughts  did  kindle,  that  our  stars 

Unreconciliable  should  divide 

Our  equalness  to  this.     Hear  me,  good  friends,— 

Enter  an  Egyptian. 

But  I  will  tell  you  at  some  meeter  season: 

The  business  of  this  man  looks  out  of  him  ;  50 

We  '11  hear  him  what  he  says.     Whence  are  you? 

Egyp.  A  poor  Egyptian  yet.    The  queen  my  mistress, 
Confined  in  all  she  has,  her  monument. 
Of  thy  intents  desires  instruction. 
That  she  preparedly  may  frame  herself 
To  the  way  she  's  forced  to. 

(j^^  Bid  her  have  good  heart : 

She  soon  shall  know  of  us,  by  some  of  ours. 
How  honourable  and  how  kindly  we 
Determine  for  her;   for  Caesar  cannot  live 
To  be  ungentle. 

Egyp.  So  the  gods  preserve  thee !  [Exit.  60 

131 


Act  V.  Sc.  iy.  ANTONY  AND  CLEOPATRA 

C(rs.  Come  hither,  Proculeius.     Go  and  say, 

We  purpose  her  no  shame:   give  her  what  comforts 

The  quality  of  her  passion  shall  require. 

Lest  in  her  greatness  by  some  mortal  stroke 

She  do  defeat  us;    for  her  life  in  Rome 

Would  be  eternal  in  our  triumph:    go, 

And  with  your  speediest  bring  us  what  she  says 

And  how  you  find  of  her. 

Pro.  Csesar,  I  shall.  \Exit. 

Cces.  Gallus,  go  you  along.  [Exit  Galliis]  Where  's  Dola- 
bella, 
To  second  Proculeius  ? 

All.  Dolabella  !  70 

Ccrs.  Let  him  alone,  for  I  remember  now 

How  he  's  employ'd :  he  shall  in  time  be  ready. 

Go  with  me  to  my  tent ;  where  you  shall  see 

How  hardly  I  was  drawn  into  this  war; 

How  calm  and  gentle  I  proceeded  still 

In  all  my  writings :    go  with  me,  and  see 

What  I  can  show  in  this.  [Exeunt. 

Scene  IL 

Alexandria.     The  monument. 

Enter  Cleopatra,  Charrnian,  and  Iros. 

Cleo.  My  desolation  does  begin  to  make 
A  better  life.     'Tis  paltry  to  be  Csesar; 
Not  being  Fortune,  he  's  but  Fortune's  knave, 
A  minister  of  her  will:   and  it  is  great 
To  do  that  thing  that  ends  all  other  deeds  ; 
Which  shackles  accidents  and  bolts  up  change ; 
Which  sleeps,  and  never  palates  more  the  dug. 
The  beggar's  nurse  and  Caesar's. 

132 


lO 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  ii. 

Enter,  to  the  gates  of  the  monument,  Prociileins, 
Callus,  and  Soldiers. 

Pro.  Csesar  sends  greeting  to  the  Queen  of  Egypt, 
And  bids  thee  study  on  what  fair  demands 
Thou  mean'st  to  have  him  grant  thee. 

CJeo.  What 's  thy  name  ? 

Pro.  iMy  name  is  Proculeius. 

Cleo.  Antony 

Did  tell  me  of  you,  bade  me  trust  you,  but 

I  do  not  greatly  care  to  be  deceived, 

That  have  no  use  for  trusting.     If  your  master 

Would  have  a  queen  his  beggar,  you  must  tell  him, 

That  majesty,  to  keep  decorum,  must 

No  less  beg  than  a  kingdom  :  if  he  please 

To  give  me  conquer'd  Egypt  for  my  son, 

He  gives  me  so  much  of  mine  own  as  I  20 

Will  kneel  to  him  with  thanks. 

Pyg^  Be  of  good  cheer  ; 

You  're  falln  into  a  princely  hand ;  fear  nothing : 
Make  your  full  reference  freely  to  my  lord, 
Who  is  so  full  of  grace  that  it  flows  over 
On  all  that  need.    Let  me  report  to  him 
Your  sweet  dependency,  and  you  shall  find 
A  conqueror  that  will  pray  in  aid  for  kindness, 
Where  he  for  grace  is  kneel'd  to. 

Cleo.  I'^'ay  you,  tell  him 

I  am  his  fortune's  vassal  and  I  send  him 
The  greatness  he  has  got.     I  hourly  learn  30 

A  doctrine  of  obedience,  and  would  gladly 
Look  him  i'  the  face. 

Pro,  This  I  'U  report,  dear  lady. 


133 


Act  V.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Have  comfort,  for  I  know  your  plight  is  pitied 
Of  him  that  caused  it. 

GoL  You  see  how  easily  she  may  be  surprised. 

[Here  Proculeiits  and  tzi'o  of  the  Guard  ascend  the 
monument  by  a  ladder  placed  against  a  win- 
doiv,  and,  having  descended,  come  behind 
Cleopatra.  Some  of  the  Guard  unbar  and 
open  the  gates. 
Guard  her  till  Caesar  come.  [Exit. 

Iras.  Royal  queen ! 

Char.  O  Cleopatra !  thou  art  taken,  queen ! 

Cleo.  Quick,  quick,  good  hai.ds,  [Drazinng  a  dagger. 

Pro.  Hold,  worthy  lady,  hold : 

[Seizes  and  disarms  her. 
Do  not  yourself  such  wrong,  who  are  in  this  40 

Relieved,  but  not  betray'd. 

Cleo.  What,  of  death  too, 

That  rids  our  dogs  of  languish  ? 

Pro.  Cleopatra, 

Do  not  abuse  my  master's  bounty  by 
The  undoing  of  yourself  :  let  the  world  see 
His  nobleness  well  acted,  which  your  death 
Will  never  let  come  forth. 

Cleo.  Where  art  thou,  death  ? 

Come  hither,  come  !  come,  come,  and  take  a  queen 
Worth  many  babes  and  beggars ! 

Pro.  O,  temperance,  lady  ! 

Cleo.  Sir,  I  will  eat  no  meat,  I  '11  not  drink,  sir : 

If  idle  talk  will  once  be  necessary,  50 

I  '11  not  sleep  neither :  this  mortal  house  I  '11  ruin. 
Do  Caesar  what  he  can.    Know,  sir,  that  I 
W^ill  not  wait  pinion 'd  at  your  master's  court, 
Nor  once  be  chastised  with  the  sober  eye 

134 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  ii. 

Of  dull  Octavia.     Shall  they  hoist  me  up 
And  show  me  to  the  shouting  varletry 
Of  censuring  Rome  ?     Rather  a  ditch  in  Egypt 
Be  gentle  grave  unto  me!   rather  on  Nilus'  mud 
Lay  me  stark  naked,  and  let  the  water-flies 
Blow  me  into  abhorring !   rather  make  60 

My  country's  high  pyramides  my  gibbet, 
And  hang  me  up  in  chains ! 
p^Q^  ^'ou  do  extend 

These  thoughts  of  horror  further  than  you  shall 
Find  cause  in  Caesar. 

Enter  Dolabclla. 

£)ol,  Proculeius, 

What  thou  hast  done  thy  master  C?esar  knows, 

And  he  hath  sent  for  thee :   for  the  queen 

I  '11  take  her  to  my  guard. 
Pyg^  So,  Dolabella, 

It  shall  content  me  best :  be  gentle  to  her. 

[ToCleo.]  To  Caesar  I  will  speak  what  you  shall  please, 

If  you  '11  employ  me  to  him. 
Cleo.  Say,  I  would  die.  70 

[Exeunt  Proculeius  and  Soldiers. 
Dol.  Most  noble  empress,  you  have  heard  of  me? 
Cleo.  I  cannot  tell. 

Dol.  Assuredly  you  know  me. 

Cleo.  Xo  matter,  sir,  what  I  have  heard  or  known. 

You  laugh  w^hen  boys  or  women  tell  their  dreams ; 

Is  't  not  your  trick  ? 
DoL  I  understand  not,  madam. 

Cleo.  I  dreamed  there  was  an  emperor  Antony : 

O,  such  another  sleep,  that  I  might  see 

135 


Act  V.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

But  such  another  man ! 
DoL  If  it  might  please  ye, — 

Clco.  His  face  was  as  the  heavens  ;  and  therein  stuck 

A  sun  and  moon,  which  kept  their  course  and  Hghted 
The  Httle  O,  the  earth. 
DoL  Most  sovereign  creature, —     8i 

Cleo.  His  legs  bestrid  the  ocean :  his  rear'd  arm 
Crested  the  world :  his  voice  was  propertied 
As  all  the  tuned  spheres,  and  that  to  friends ; 
But  when  he  meant  to  quail  and  shake  the  orb, 
He  was  as  rattling  thunder.     For  his  bounty, 
There  was  no  winter  in  't ;   an  autumn  'twas 
That  grew  the  more  by  reaping :   his  delights 
Were  dolphin-like  ;  they  show'd  his  back  above 
The  element  they  lived  in :   in  his  livery  90 

Walk'd  crowns  and  crownets  ;  realms  and  islands  were 
As  plates  dropp'd  from  his  pocket. 
DoL  Cleopatra, — 

Cleo.  Think  you  there  was,  or  might  be,  such  a  man 

As  this  I  dream'd  of? 
DoL  Gentle  madam,  no. 

Clco.  You  lie,  up  to  the  hearing  of  the  gods. 
But  if  there  be,  or  ever  were,,  one  such. 
It 's  past  the  size  of  dreaming :  nature  wants  stuff 
To  vie  strange  forms  with  fancy ;   yet  to  imagine 
An  Antony,  were  nature's  piece  'gainst  fancy, 
Condemning  shadows  quite. 
DoL  Hear  me,  good  madam.   100 

Your  loss  is  as  yourself,  great ;  and  you  bear  it 
As  answering  to  the  weight :  would  I  might  never 
O'ertake  pursued  success,  but  I   do  feel. 
By  the  rebound  of  yours,  a  grief  that  smites 

136 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  ii. 

My  very  heart  at  root. 
Cleo.  I  thank  you,  sir. 

Know  you  what  Caesar  means  to  do  with  me  ? 
DoL  I  am  loath  to  tell  you  what  I  would  you  knew. 
Cleo.  Nay,  pray  you,  sir, — 

£lol.  Though  he  be  honourable, — 

Cleo.  He  '11  lead  me  then  in  triumph  ? 
Dot.  Madam,  he  will ;  I  know  't.  no 

[Flourish  and  shout  imthin  :  '  Make  way  there :  Caesar  ! ' 

Enter  Ccesar,  Callus,  Proculcius,  Mcccenas,  Seleucus, 
and  others  of  his  train. 

'  Cces.  Which  is  the  Queen  of  Egypt  ? 
Dol  It  is  the  emperor,  madam.  [Cleopatra  kneels. 

Ccus.  Arise,  you  shall  not  kneel : 

I  pray  you,  rise ;   rise,  Egypt. 
Cleo.  Sir,  the  gods 

Will  have  it  thus ;  my  master  and  my  lord 

I  must  obey. 
Cces.  Take  to  you  no  hard  thoughts : 

The  record  of  what  injuries  you  did  us, 

Though  written  in  our  flesh,  we  shall  remember 

As  things  but  done  by  chance. 
Cleo.  Sole  sir  o'  the  world,   120 

I  cannot  project  mine  own  cause  so  well 

To  make  it  clear ;  but  do  confess  I  have 

Been  laden  with  like  frailties  which  before 

Have  often  shamed  our  sex. 
Cces.  Cleopatra,  know, 

We  will  extenuate  rather  than  enforce : 

If  you  apply  yourself  to  our  intents, 

Which  towards  you  are  most  gentle,  you  shall  find 

137 


Act  V.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

A  benefit  in  this  change ;  but  if  you  seek 

To  lay  on  me  a  cruelty  by  taking 

Antony's  course,  you  shall  bereave  yourself  130 

Of  my  good  purposes  and  put  your  children 

To  that  destruction  which  I  '11  guard  them  from 

If  thereon  you  rely.     I  '11  take  my  leave. 

Cleo.  And  may,  through  all  the  world  :  'tis  yours  ;  and  we, 
Your  scutcheons  and  your  signs  of  conquest,  shall 
Hang  in  what  place  you  please.    Here,  my  good  lord. 

Cccs.  You  shall  advise  me  in  all  for  Cleopatra. 

Cleo.  This  is  the  brief  of  money,  plate  and  jewels, 
I  am  possess'd  of :   'tis  exactly  valued. 
Not  petty  things  admitted.     Where's  Seleucus?  140 

Sel.  Here,  madam. 

Cleo.  This  is  my  treasurer :  let  him  speak,  my  lord, 
Upon  his  peril,  that  I  have  reserved 
To  myself  nothing.     Speak  the  truth,  Seleucus. 

Sel.  Madam, 

I  had  rather  seal  my  lips  than  to  my  peril 
Speak  that  which  is  not. 

Cleo.  What  have  I  kept  back  ? 

Set.  Enough  to  purchase  what  you  have  made  known. 

Cccs.  Nay,  blush  not,  Cleopatra ;  I  approve 
Your  wisdom  in  the  deed. 

Cleo.  See,  Caesar!  O,  behold,   150 

How  pomp  is  follow'd !  mine  will  now  be  yours, 
And,  should  we  shift  estates,  yours  would  be  mine. 
The  ingratitude  of  this  Seleucus  does 
Even  make  me  wild.    O  slave,  of  no  more  trust 
Than  love  that's  hired!     What,  goest  thou  back? 

thou  shalt 
Go  back,  I  warrant  thee ;  but  I  '11  catch  thine  eyes, 

138 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  ii. 

Though  they  had  wings :   slave,  soulless  villain,  dog ! 
O  rarely  base ! 

CcES.  Good  queen,  let  us  entreat  you. 

Cleo.  O  Caesar,  what  a  wounding  shame  is  this, 

That  thou  vouchsafing  here  to  visit  me,  i6o 

Doing  the  honour  of  thy  lordliness 

To  one  so  meek,  that  mine  own  servant  should 

Parcel  the  sum  of  my  disgraces  by 

Addition  of  his  envy !     Say,  good  Caesar, 

That  I  some  lady  trifles  have  reserved, 

Immoment  toys,  things  of  such  dignity 

As  we  greet  modern  friends  withal ;  and  say, 

Some  nobler  token  have  I  kept  apart 

For  Livia  and  Octavia,  to  induce 

Their  mediation  ;  must  I  be  unfolded  170 

With  one  that  I  have  bred  ?    The  gods  !   it  smites  me 

Beneath  the  fall  I  have.     [To  Seleitcns]    Prithee,  go 

hence ; 
Or  I  shall  show  the  cinders  of  my  spirits 
Through  the  ashes  of  my  chance :   wert  thou  a  man, 
Thou  wouldst  have  mercy  on  me. 

Cces.  Forbear,  Seleucus. 

[Exit  Seleucus. 

Cleo.  Be  it  known,  that  we,  the  greatest,  are  mis-thought 
For  things  that  others  do,  and  when  we  fall, 
We  answer  others'  merits  in  our  name. 
Are  therefore  to  be  pitied. 

Cces.  Cleopatra, 

Not  what  you  have  reserved,  nor  what  acknowledged, 
Put  we  i'  the  roll  of  conquest :   still  be  't  yours,     181 
Bestow  it  at  your  pleasure,  and  believe 
Caesar  's  no  merchant,  to  make  prize  with  you 

139 


Act  V.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Of  things  that  merchants  sold.    Therefore  be  cheer'd  ; 

Make  not   your   thoughts   your   prisons :    no,    dear 
queen  ; 

For  we  intend  so  to  dispose  you  as 

Yourself  shall  give  us  counsel.    Feed,  and  sleep : 

Our  care  and  pity  is  so  much  upon  you 

That  we  remain  your  friend  ;  and  so,  adieu. 
Cleo.  My  master,  and  my  lord  ! 

Ccos.  Not  so.     Adieu.  190 

[Flourish.     Exeunt  Ccusar  and  his  train. 

Cleo.  He  words  me,  girls,  he  words  me,  that  I  should  not 

Be  noble  to  myself :  but,  hark  thee,  Charmian. 

[Whispers  Charmian. 
Iras.  Finish,  good  lady ;  the  bright  day  is  done. 

And  we  are  for  the  dark. 
Cleo.  Hie  thee  again: 

I  have  spoke  already,  and  it  is  provided ; 

Go  put  it  to  the  haste. 
Char.  Madam,  I  will. 

Re-enter  Dolahella. 

Dol.  Where  is  the  queen  ? 

Char.  Behold,  sir.  [Exit. 

Cleo.  Dolabella ! 

Dol.  Madam,  as  thereto  sworn  by  your  command, 
Which  my  love  makes  religion  to  obey, 
I  tell  you  this  :  Caesar  through  Syria  200 

Intends  his  journey,  and  within  three  days 
You  with  your  children  will  he  send  before : 
Make  your  best  use  of  this :    I  have  perform'd 
Your  pleasure  and  my  promise. 

Cleo.  Dolabella, 

140 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  ii. 

I  shall  remain  your  debtor. 

Dol.  I  your  servant. 

Adieu,  good  queen  ;   1  must  attend  on  Caesar. 

Cleo.  Farewell,  and  thanks.  [Exit  Dolahella. 

Now,  Iras,  what  think'st  thou? 
Thou,  an  Egyptian  puppet,  shalt  be  shown 
In  Rome,  as  well  as  I :  mechanic  slaves 
With  greasy  aprons,  rules  and  hammers,  shall        210 
Uplift  us  to  the  view :  in  their  thick  breaths, 
Rank  of  gross  diet,  shall  we  be  enclouded 
And  forced  to  drink  their  vapour. 

Iras.  The  gods  forbid ! 

Cleo,  Nay,  'tis  most  certain,  Iras  :  saucy  lictors 

Will  catch  at  us  like  strumpets,  and  scald  rhymers 

Ballad  us  out  o'  tune :  the  quick  comedians 

Extemporally  will  stage  us  and  present 

Our  Alexandrian  revels  ;  Antony 

Shall  be  brought  drunken  forth,  and  I  shall  see 

Some  squeaking  Cleopatra  boy  my  greatness         220 

r  the  posture  of  a  whore. 

Iras,  O  the  good  gods  ! 

Cleo.  Nay,  that 's  certain. 

Iras.  I  '11  never  see  't ;  for  I  am  sure  my  nails 
Are  stronger  than  mine  eyes. 

Cleo,  Why,  that 's  the  way 

To  fool  their  preparation,  and  to  conquer 
Their  most  absurd  intents. 

Re-enter  Charmian. 

Now,  Charmian! 
Show  me,  my  women,  like  a  queen :  go  fetch 
My  best  attires  :  I  am  again  for  Cydnus, 

141 


Act  V.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

To  meet  Mark  Antony  :   sirrah  Iras,  go. 

Now,  noble  Charmian,  we  '11  dispatch  indeed,       230 

And  when  thou  hast  done  this  chare  I  '11  give  thee 

leave 
To  play  till  doomsday.     Bring  our  crown  and  all. 

[Exit  Iras.     A  noise  zvithin. 
Wherefore  's  this  noise  ? 

Enter  a  Guardsman. 

Guard.  Here  is  a  rural  fellow 

That  will  not  be  denied  your  highness'  presence : 
He  brings  you  figs. 

Cleo.  Let  him  come  in.  [Exit  Guardsman. 

What  poor  an  instrument 
May  do  a  noble  deed !   he  brings  me  liberty. 
My  resolution  's  placed,  and  I  have  nothing 
Of  woman  in  me :   now  from  head  to  foot 
I  am  marble-constant :  now  the  fleeting  moon       240 
No  planet  is  of  mine. 

Re-enter  Guardsman,  with  Glozvn  bringing  in  a  basket. 

Guard.  This  is  the  man. 

Cleo.  Avoid,  and  leave  him.  [Exit  Guardsman. 

Hast  thou  the  pretty  worm  of  Nilus  there. 

That  kills  and  pains  nof? 
Clown.  Truly,  I  have  him :   but  I  would  not  be  the 

party  that  should  desire  you  to  touch  him,  for 

his  biting  is  immortal ;  those  that  do  die  of  it  do 

seldom  or  never  recover. 
Cleo.  Rememberest  thou  any  that  have  died  on  't  ? 
Clozi'n.  Very  many,  men  and  women  too.    I  heard  of  250 

one  of  them  no  longer  than  yesterday :    a  very 

142 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  ii. 

honest  woman,  but  something  given  to  He ;  as  a 
woman  should  not  do,  but  in  the  way  of  honesty : 
how  she  died  of  the  biting  of  it,  what  pain  she 
felt :  truly,  she  makes  a  very  good  report  o'  the 
worm ;  but  he  that  will  believe  all  that  they  say, 
shall  never  be  saved  by  half  that  they  do:  but 
this  is  most  fallible,  the  worm  's  an  odd  worm. 

Cleo.  Get  thee  hence ;   farewell. 

Clozvn.  I  wish  you  all  joy  of  the  worm.  260 

[Setting  down  his  basket. 

Cleo.  Farewell. 

Clown.  You  must  think  this,  look  you,  that  the  worm 
will  do  his  kind. 

Cleo.  Ay,  ay ;  farewell. 

Clozvn.  Look  you,  the  worm  is  not  to  be  trusted  but 
in  the  keeping  of  wise  people,  for  indeed  there 
is  no  goodness  in  the  worm. 

Cleo.  Take  thou  no  care ;   it  shall  be  heeded. 

Clown.  Very   good.     Give   it   nothing,   I   pray  you, 

for  it  is  not  worth  the  feeding.  270 

Cleo.  Will  it  eat  me? 

Clown.  You  must  not  think  I  am  so  simple  but  I 
know  the  devil  himself  will  not  eat  a  woman :  I 
know  that  a  woman  is  a  dish  for  the  gods,  if  the 
devil  dress  her  not.  But,  truly,  these  same 
whoreson  devils  do  the  gods  great  harm  in  their 
women ;  for  in  every  ten  that  they  make,  the 
devils  mar  five. 

Cleo.  Well,  get  thee  gone ;   farewell. 

Clown.  Yes,  forsooth :  I  wish  you  joy  o'  the  worm.  [Exit. 

Re-enter  Iras  with  a  robe,  crown,  etc. 
Cleo.  Give  me  my  robe,  put  on  my  crown ;  I  have        280 

143 


Act  V.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Immortal  longings  in  me :  now  no  more 

The  juice  of  Egypt's  grape  shall  moist  this  lip : 

Yare,  yare,  good  Iras ;  quick.    Methinks  I  hear 

Antony  call ;   I  see  him  rouse  himself 

To  praise  my  noble  act ;   I  hear  him  mock 

The  luck  of  Caesar,  which  the  gods  give  men 

To  excuse  their  after  wrath.    Husband,  I  come : 

Now  to  that  name  my  courage  prove  my  title ! 

I  am  fire  and  air  ;  my  other  elements 

I  give  to  baser  life.     So ;  have  you  done  ?  290 

Come  then  and  take  the  last  warmth  of  my  lips. 

Farewell,  kind  Charmian  ;  Iras,  long  farewell. 

[Kisses  thcni.     Iras  falls  and  dies. 
Have  I  the  aspic  in  my  lips  ?     Dost  fall  ? 
If  thou  and  nature  can  so  gently  part, 
The  stroke  of  death  is  as  a  lover's  pinch, 
Which  hurts,  and  is  desired.     Dost  thou  lie  still? 
If  thus  thou  vanishest,  thou  tell'st  the  world 
It  is  not  worth  leave-taking. 

Char.  Dissolve,  thick  cloud,  and  rain,  that  I  may  say 
The  gods  themselves  do  weep ! 

Cleo.  This  proves  me  base . 

If  she  first  meet  the  curled  Antony,  301 

He  '11  make  demand  of  her,  and  spend  that  kiss 
Which  is  my  heaven  to  have.     Come,  thou  mortal 
wretch, 

[To  an  asp,  zchich  she  applies  to  her  breast. 
With  thy  sharp  teeth  this  knot  intrinsicate 
Of  life  at  once  untie :  poor  venomous  fool. 
Be  angry,  and  dispatch.    O,  couldst  thou  speak. 
That  I  might  hear  thee  call  great  Caesar  ass 
Unpolicied ! 

144 


ANTONY  AND  CLEOPATRA  Act  V.  Sc.  ii. 

Char.  O  eastern  star ! 

Cleo.  Peace,  peace ! 

Dost  thou  not  see  my  baby  at  my  breast, 

That  sucks  the  nurse  asleep? 
Char.  O,  break!   O,  break!  310 

Cleo.  As  sweet  as  balm,  as  soft  as  air,  as  gentle, — 

0  Antony  ! — Nay,  I  will  take  thee  too : 

[Applying  another  asp  to  her  arm. 
What  should  I  stay—  [Dies. 

Char.  In  this  vile  world?    So,  fare  thee  well. 
Now  boast  thee,  death,  in  thy  possession  lies 
A  lass  unparallel'd.     Downy  windows,  close ; 
And  golden  Phoebus  never  be  beheld 
Of  eyes  again  so  royal !     Your  crown  's  awry ; 

1  '11  mend  it,  and  then  play. 

Enter  the  Guards  rushing  in. 

First  Guard.  Where  is  the  queen? 

Char.  Speak  softly,  wake  her  not. 

i'irst  Guard.  Caesar  hath  sent — 

Char.  Too  slow  a  messenger.  321 

[Applies  an  asp. 
O,  come  apace,  dispatch  :   I  partly  feel  thee. 
First  Guard.  Approach,  ho !     All  's  not  well :    Caesar  's 

beguiled. 
Sec.  Guard.  There  's   Dolabella   sent   from   Csesar ;    call 

him. 
First  Guard.  What  work  is  here!     Charmian,  is  this  well 

done  ? 
C  xar.  It  is  well  done,  and  fitting  for  a  princess 
Descended  of  so  many  royal  kings. 
Ah,  soldier!  [Dies. 

145 


Act  V.  Sc.  ii.  ANTONY  AND  CLEOPATRA 

Re-enter  Dolahella. 

Dol.  How  goes  it  here? 

Sec.  Guard.  All  dead. 

Dol.  Caesar,  thy  thoughts 

Touch  their  eilects  in  this  :   thyself  art  coming      330 
To  see  perform'd  the  dreaded  act  which  thou 
So  sought'st  to  hinder. 

[Within.     '  A  way  there,  a  way  for  Caesar!  ' 

Re-enter  Ccusar  and  his  train. 

Dol.  O  sir,  you  are  too  sure  an  augurer ; 

That  you  did  fear  is  done. 
Ccrs.  Bravest  at  the  last, 

She  levell'd  at  our  purposes,  and  being  royal 

Took  her  own  way.    The  manner  of  their  deaths  ? 

I  do  not  see  them  bleed. 
Dol.  Who  was  last  with  them  ? 

First  Guard.  A  simple  countryman,  that  brought  her  figs : 

This  was  his  basket. 
Gees.  Poison'd  then. 

First  Guard.  O  Caesar, 

This  Charmian  lived  but  now  ;  she  stood  and  spake  : 

I  found  her  trimming  up  the  diadem  341 

On  her  dead  mistress ;   tremblingly  she  stood. 

And  on  the  sudden  dropp'd. 
Gees.  O  noble  weakness  ! 

If  they  had  swallow'd  poison,  'twould  appear 

By  external  swelling :  but  she  looks  like  sleep. 

As  she  would  catch  another  Antony 

In  her  strong  toil  of  grace. 
Dol.  Here,  on  her  breast, 

146 


ANTONY  AND  CLEOPATRA  Act  V.  Sc,  ii. 

There  is  a  vent  of  blood,  and  something  blown : 
The  like  is  on  her  arm. 

First  Guard.  This  is  an  aspic's  trail :  and  these  fig-leaves 
Have  slime  upon  them,  such  as  the  aspic  leaves  351 
Upon  the  caves  of  Nile. 

Ccus.  Most  probable 

That  so  she  died ;  for  her  physician  tells  me 

She  hath  pursued  conclusions  infinite 

Of  easy  ways  to  die.     Take  up  her  bed. 

And  bear  her  women  from  the  monument : 

She  shall  be  buried  by  her  Antony : 

No  grave  upon  the  earth  shall  clip  in  it 

A  pair  so  famous.    High  events  as  these 

Strike  those  that  make  them  ;  and  their  story  is    360 

No  less  in  pity  than  his  glory  which 

Brought  them  to  be  lamented.     Our  army  shall 

In  solemn  show  attend  this  funeral, 

And  then  to  Rome.     Come,  Dolabella,  see 

High  order  in  this  great  solemnity.  [Exeunt. 


147 


Slil,htd<gi,i,Jua.J^-A'ii'i 


Cleopatra  and  her  son  CaesTrion  Sacrificing  to  the  Gods. 
Sculptured  in  the  great  Temple^  at  Dendera^  7ippcr  Egypt. 


148 


ANTONY  AND  CLEOPATRA 


Glossary, 


Abhorring,  abomination;  V.  ii. 

60. 
Abode,  staying;  I.  ii.  177. 
Abstract;  "  the  a.  of  all  faults," 

a   microcosm   of    sinfulness ; 

I.  iv.  9. 

Abused,  ill-used;  III.  vi.  86. 

Abysm,  abyss;  III.  xiii.  147. 

A  d  m  i  1 1  e  d,  acknowledged  ; 
registered  (Theobald, 
"  omitted  ")  ;  V.  ii.  140. 

Afeard,  afraid;  II.  v.  81. 

Affect'st,  pleases  (Folio  i,  "af- 
fects") ;  I.  iii.  71. 

Aid;  "  pray  in  a.,"  seek  assist- 
ance, call  in  help  from  an- 
other; V.  ii.  27. 

Alcides,  Hercules;  IV.  xii.  44. 

Alike;  "having  a.  your  cause," 
"  being  engaged  in  the  same 
cause  with  you"  (Malone)  ; 
II.ii.51. 

All-obeying,  obeyed  by  all ;  III. 
xiii.  yy. 

Alms-drink,  "  leavings "  (ac- 
cording to  Warburton  a 
phrase  amongst  good  fellows 
to  signify  that  liquor  of  an- 
other's share  which  his  com- 
panioa  drinks  to  ease  h.im)  ; 

II.  vii.  5. 

Angle,  angling-line,  fishing- 
line;  II.  v.  10.  {Cp.  illustra- 
tion.) 

Answer,  render  account;  III. 
xiii.  27. 


Antoniad,  the  name  of  the  flag- 
ship of  Cleopatra;  III.  x.  2. 

Apace,  fast ;  IV.  vii.  6. 

Appeal,  impeachment;  III.  v. 
12. 

Approof ;  "  and  as  my  farthest 
band  shall  pass  on  thy  a.."  i.e. 
"  such  as  when  tried  will 
prove  to  be  beyond  anything 
that  I  can  promise" 
(Schmidt)  ;  III.  ii.  27. 

Approves,  proves  ;  I.  i.  60. 

Arabian  bird,  i.e.  the  Phoenix; 
Ill.ii.  12. 

Argument,  proof ;  III.  xii.  3. 

Arm-gaunt  {vide  Note)  ;  I.  v. 
48. 

Armourer,  one  who  has  care  of 
the    armour    of    his    master ; 

IV.  iv.  7. 

As,  as  if;  I.  ii.  100. 

^4^ /owaj,  lower  than  ;  III.  iii.  37. 

Aspic,  asp,  a  venomous  snake; 

V.  ii.  293. 


From  a  wall-painting  in  a  Theban 
tomb. 


149 


Glossary 


ANTONY  AND  CLEOPATRA 


Aspic's  (Folios  2,  3,  4,  "As- 
pects") ;  V.  ii.350. 

As't,  as  if  it;    IV.  viii.  6. 

At  heel  of,  on  the  heels  of,  im- 
mediately after;  II.  ii.  159. 

Atone,  reconcile;  II.  ii.  102. 

Attend,  witness,  take  notice  of; 
II.  ii.  60. 

,  await ;  III.  x.  32. 

Augur er,  diviner,  foreteller;  V. 

ii.  Z2,Z- 
Auguring,    prophesying;    II.    i. 
ID. 

Avoid,  begone,  withdraw ;  V.  ii. 

242. 
Awry,     not     straight      (Pope's 

emendation     of     Folios, 

"  azvay")  ;  V.  ii.318. 


II. 


128;  III. 


Band,  bond 

26. 
Banquet,  dessert;  I.ii.  11. 
Bark'd,  peeled ;   IV.  xii.  23. 
Basket;  "  enter  Clown  bringing 

in    a    basket";    V.    ii.    241. 


(direc).  The  annexed  cuts 
represent  ancient  Egyptian 
baskets,  fig.  2  showing  also 
the  fruit  covered  by  a  palm- 
leaf. 

Battery ;  "  b.  from  my  heart," 
i.e.  the  battery  proceeding 
from  the  beating  of  my 
heart ;  IV.  xiv.  39. 

Battle,  army  ;  III.  ix.  2. 

Beck'd,  beckoned ;  IV.  xii.  26. 

Bed;  "  the  bed  of  Ptolemy  "  ;  I. 
iv.  17.    {Cp,  illustration.) 


From  a  wall  painting  on  the  tomb 
RameseslII.,  at  Thebes. 


Beguiled,  cheated  ;  V.  ii.  323. 
Belike,  I  suppose;  I.  ii.  35. 
Bench-holes,  holes  of  a  privy; 

IV.  vii.  9. 
Bereave,  deprive;  V.  ii.  130. 
Best,  it  were  best;  IV.  vi.  26. 
Bestrid,  did  stride  over ;  V.  ii. 

82. 
Bctime,  betimes,  in  good  time  ; 

IV.  iv.  20. 
Blown,  swollen ;  V.  ii.  348. 
Blows,  swells ;  IV.  vi.  34. 
Boar;  "  the  b,  of  Thessaly,"  i.e. 

the  boar  killed  by  Meleager ; 

IV.  xiii.  2. 
Boggier,     inconstant     woman ; 

III.  xiii.  no. 


150 


ANTONY  AND  CLEOPATRA 


Glossary 


Bolts  up,  fetters  ;  V.  ii.  6. 

Bond,  ''bounden  duty"  (Ma- 
son) ;  I.  iv.  84. 

Boot;  "make  b.,"  take  advan- 
tage ;  IV.  i.  9- 

Boot  thee  with,  give  thee  to 
boot,   give  thee   in   addition: 

II.V.71. 

Boy  my  greatness,  alluding  to 
the  fact  of  boys .  or  youths 
playing  female  parts  on  the 
stage  in  the  time  of  Shake- 
speare ;  V.  ii.  220. 

Branded,  stigmatised;  IV.  xiv. 

77- 
Brave,  defy;  IV.  iv.  5. 
Break,  communicate;    I.  ii.  I79- 
Breather,  one   who  lives;    III. 

iii.  24. 
Breathing,  utterance;  I.  iii.  14. 
Breese,  gadfly;  III.  x.  14. 
Brief,  summary;  V.  ii.  138. 
Bring,  take  ;  III.  v.  24. 
Bring  me,  i.e.  bring  me  word; 

IV.  xiii.  10. 
Brooch'd,    adorned    as    with    a 

brooch      (W  ray     con  j. 

"  brook' d  ")  ;  IV.  xv.  25. 
Burgonet,     a     close-fitting 

helmet ;  I.  v.  24. 
But,  if  not;  V.  ii.  103. 
But    being,    except,    unless    we 

are;  IV.  xi.  i. 
But  it  is,  except  it  be,  if  it  be 

not ;  V.  i.  27. 
By,  according  to;  III.  iii.  43- 

Call  on  him,  call  him  to  ac- 
count;  (?)  "visit" 
(Schmidt)  ;  I.  iv.  28. 

Cantle,  piece ;  III.  x.  6. 


Carbuncled,  set  with  car- 
buncles ;   IV.  viii.  28. 

Carriage;  "the  c.  of  his  chafe," 
the  bearing  of  his  passion, 
i.e.  his  angry  bearing;  I.  iii. 

85. 
Carries  beyond,  surpasses;  III. 

vii.  76. 

Cast,  cast  up,  calculate;  III.  ii. 

I/- 
Chance;  "wounded  ch.," 
broken  fortunes  ;  III.  x.  36. 

,  fortune  ;  V.  ii.  I74- 

,  occur;  III.  iv.  13. 

Chare,  task;  V.  ii.  231. 
Chares,  drudgery ;  IV.  xv.  75. 
Charm,  charmer  ;  IV.  xii.  16. 
Check,  rebuke;  IV.  iv.  31- 
Chuck,  a  term  of  endearment; 

IV.  iv.  2. 
Circle,  crown;  III.  xii.  18. 
Clip,  embrace  ;  IV.  viii.  8. 

,  surround  ;  V.  ii.  358. 

Close,  hidden  ;  IV.  ix.  6. 
Cloth-of-gold   of   tissu  e,   i.e. 

"  cloth-of-gold    in    tissue    or 

texture";    (?)    cloth-of-gold 

on  a  ground  of  tissue;  II.  ii. 

202. 
C  louts,  cloths;  (?)  blows, 

knocks  ;  IV.  vii.  6. 
Cloyless,  preventing  satiety ;  II. 

Colour,  excuse,  pretext;  I.  iii. 
32. 

Comes  dear'd,  becomes  en- 
deared (Folios,  "  comes 
fear'd  ")  ;  I.  iv.  44. 

Comfort;  "  best  of  c,"  i.e. 
"  may  the  best  of  comfort  be 
yours"  (Steevens)  ;  (Rowe. 
"  Be  of  comfort " )  ;    III. vi. 89. 


151 


Glossary 


ANTONY  AND  CLEOPATRA 


Command,  all  power  to  com- 
mand; III.  xi.  23. 

Commission, warrant ;    II.iii.41. 

Comparisons,  advantages,  i.e. 
"  things  in  his  favour,  when 
compared  to  me"  (Pope, 
"  caparisons  ")  ;   III.  xiii.  26. 

Competitor,  associate ;  I.  iv.  3. 

Compose,  come  to  a  composi- 
tion ;  II.  ii.  15. 

Composure,  composition ;  I.  iv. 
22. 

Conclusion ;  "still  c."  1'.^.  quiet 
inference  (Collier  MS.,"  still 
condition  ")  ;  IV.  xv.  28. 

Conclusions,  experiments ;  V. 
ii-  354- 

Confound,  waste;  I.  i.  45. 

,  destroy;  III.  ii.  58. 

Congealment,  congealed  blood; 
IV.  viii.  10. 

Content,  agreed;   IV.   iii.  24. 

Continent;  "  thy  c,"  that  which 
encloses  thee ;  IV.  xiv.  40. 

Contriving;  "many  our  c. 
friends,"  i.e.  "  many  friends 
who  are  busy  in  our  inter- 
est " ;  I.  ii.  184. 

Conversation,  deportment ;  II. 
vi.  123. 

Corrigible,  submissive  to  cor- 
rection ;  IV.  xiv.  74. 

Couch,  lie;  IV.  xiv.  51. 

Could,  would  gladly ;  I.  ii.  128. 

Course,  pursue  hotly ;  III.  xiii. 
II. 

Court  of  guard,  guard  room ; 
IV.  ix.  2. 

Crack,  burst  of  sound;  V.  i.  15. 

Crescent,  increasing;  II,  i.  10. 

Crested,  formed  the  crest  of; 
v.  ii.  83. 


Crownet,  crown ;  IV.  xii.  27. 
Crozvnets,  coronets;  V.  ii.  91. 
Cunning,  "  dexterous  and  trick- 

ish  in  dissembling";  I.ii.  147. 

,  skill,  art ;  II.  iii.  34. 

Curious,  careful ;  III.  ii.  s?- 
Ciirstness,    ill-humour;     II.     ii. 

25.  "» 

Daif't,     doff     it,     take     it     oT 

(Folio    I,  "daft";   Folios   2, 

3,        4.        "doff";        Rowe. 

"  doft");   IV.   iv.    13. 
Dare,  defiance ;  I.  ii.  186. 
Darkens,  obscures;  III.  i.  24. 
Darkling,  in  the  dark;  IV.  xv. 

10. 
Dealt  on  lieutenantry,  acted  by 

proxy ;  III.  xi.  39. 
Death  and  honour,  honourable 

death ;  IV.  ii.  44. 
Declined,  decayed,   fallen ;   III. 

xiii.  27. 
Defeat' st,     dost     destroy;     IV. 

xiv.  68. 
Defend,  forbid;  III.  iii.  46. 
Demon,  attendant  spirit;  II.  iii. 

19. 
Demurely,    solemnly,    gravely ; 

IV.  XV.  29;  IV.  ix.  31. 
Demuring,     looking     with     af- 
fected modesty ;  IV.  xv.  29. 
Deputation ;  "in  d.,"  by  deputy 

(Folios,     "  disputation  "  )  ; 

III.  xiii.  74. 
Derogately,    disparagingly;    II. 

ii.  34. 
Desires;   "  your   d.   are  yours." 

your  desires  are  granted;  III. 

iv.  28. 
Determine,  decide,  resolve ;  V, 

i.  59. 


132 


ANTONY  AND  CLEOPATRA 


Glossary 


Determines,  comes  to  an  end; 

III.  xiii.  i6i. 
Diminutives,  insignificant 

creatures ;  IV.  xii.  37. 
Disaster,  disfigure;  11.  vii.  17. 
Discandy,  melt ;  IV.  xii.  22. 
Discandying,   melting,   thawing 

(Ff.,  "  diseandering"  ;  Rowe, 

"  discattcring")  ;     III.     xiii. 

165. 
Discontents,  malcontents;  I.  iv. 

39- 

Dislimns,  effaces,  blots  out 
(Folios,  "dislimes")\  IV. 
xiv.  10. 

Dismission,  dismissal,  dis- 
charge ;  I.  i.  26. 

Disponge,  pour  down ;  IV.  ix. 
13- 

Dispose,  dispose  of;  V.  ii.  186. 

Disposed,  settled  matters  (Col- 
lier MS.,  "  compos'd")  ;  IV. 
xiv.  123. 

Disposition;  "pinch  one  an- 
other by  the  d.,"  "  touch  one 
another  in  a  sore  place " 
(  War  burton  )  ;  "try  each 
other  by  banter"  (Clarke)  ; 
II.  vii.  7. 

Distractions,  detachments;  III. 
vii.  yj. 

Diz-ine,  prophesy,  predict;  II. 
vi.  116. 

Doits,  the  smallest  sum  of 
money  (Folios,  "Dolts,"  i.e. 
fools ;  for  which  reading 
much  is  to  be  said)  ;  IV.  xii. 
.37- 

Doughty-handed,  stout  of 
hands ;  IV.  viii.  5. 

Dread,  fear;  IV.  xiv.  127. 

Droven,  driven;  IV.  vii.  5. 


Dumb'd,  silenced  (Folios, 
"dumb";  W  a  r  b  u  r  t  o  n, 
"  done  ")  ;  I.  v.  50. 

Ear,  plough  ;  I.  iv.  49. 

Earing,  tilling,  ploughing ;  I.  ii. 

112. 
Ebb'd,     declined,     decayed;     I. 

iv.  43. 
£c?^^.s-, blades, swords;    II.vi.39. 
Edict;    "  make   thine    own    e.," 

decree  the  reward  you  desire  ; 

III.  xii.  32. 
Effects,  realisation ;  V.  ii.  330. 
Egypt,  i.e.  the  Queen  of  Egypt ; 

L  iii.  78. 
Egypt's  zi'idozv,  i.  e.  Cleopatra, 

who    had    been    married    to 

young     Ptolemy,     afterwards 

drowned  ;  II.  i.  37. 
Elder,  better,  superior;   III.  x. 

13. 
Embattle,  be  drawn  up  in  bat- 
tle array;  IV.  ix.  3. 
Emboss'd,      foaming      at      the 

mouth ;      a      hunting      term 

(Folios,      "  imbost")  ;      IV. 

xiii.  3. 
Enforce,  urge ;  II.  ii.  99. 
,  lay  much  stress  upon ;  V. 

ii.  125. 
Enf ranched,  enfranchised 

(Theobald,      "  e  n  f  r  a  n- 

chis'd")  ;  III.  xiii.   149. 
Enfranchise,   set    free,   deliver; 

I.  i.  23. 
Enow,  enough    (used  as  plural 

of  enough)  ;  I.  iv.  11. 
Ensued,  followed ;  IV.  xiv.  yj. 
Entertainment,   reception;    III. 

xiii.  140. 
,  service ;  IV.  vi.  17. 


153 


Glossary 


ANTONY  AND  CLEOPATRA 


Enter  with,  recommend  to ;  IV. 
xiv.  113. 

Envy,  malice ;  V.  ii.  164, 

Estridge,  ostrich ;  III,  xiii.  197. 

Eternal;  "  e,  in  our  triumph," 
i.e.  "  be  for  ever  recorded  as 
the  most  glorious  trophy  of 
our  triumph";  (Thirlby 
conj.  "  ctcrnaling")  ;  V.  i. 
66. 

Every   of,  every  one  of;   I.   ii. 

Evidence,  proof;  I.  iii.  74. 

Exigent,  exigency,  decisive  mo- 
ment ;  IV.  xiv.  63. 

Expedience,  expedition;  I.  ii. 
180. 

Extended,  seized  upon ;  a  law 
term ;  I.  ii.  102. 

Eye,  appear;  I.  iii.  97. 

Faction,   dissension ;    I.   iii.    48. 
Fairy,     enchantress ;     IV.     viii. 

12. 
Fall,  befall,  fall  upon ;  III.  vii. 

40. 

■ ,  let  fall;  III.  xi.  67. 

Fallible;  blunder  for  infallible 

(Folio  I,  "  falliable")  ;  V.  ii. 

258. 
Fame,   rumour,    report ;    II.    ii. 

165. 
Fast    and     loose,     a     cheating 

game  of  gipsies;  IV.  xii.  28. 
Fats,  vats;  II.  vii.  119. 
Favour,  face,  countenance ;   II. 

V.  38. 
Fear,  frighten;  II.  vi.  24. 
Fearful,    full   of   fear;    III.   xi. 

55- 
Feature,    external    appearance ; 

II.  V.  112. 


Feeders,     parasites;     III.     xiii. 

109. 
Fellows,  companions;  IV.  ii.  13. 
Fervency,  eagerness;  II.  v.   18. 
Fetch  in,  take,  capture;  IV.  i. 

14. 
Fever,  put  in  a  fever;  III.  xiii. 

138. 
Figs;  "  I  love  long  life  better 

than  f.,"  a  proverbial  phrase ; 

I.  ii.  2>2. 
Files,  lines  of  soldiers ;  I.  i.  3. 
Finish,  end,  die ;  V.  ii.  193. 
Flaw;    "becomes    his    f.,"    i.e. 

"  accommodates     himself     to 

his  misfortune  "  ;  III.  xii.  34. 
Fleet,  float    (Rowe,    " -float"); 

III.  xiii.  171. 
Flush  youth,  "youth  ripened  to 

manhood  "    (Folios    2,    3,    4, 

"  Hesh  y.")  ;  I.  iv.  52. 
Foison,  plenty;  II.  vii.  21. 
Follozv'd,  chased;  V.  i.  36. 
Footmen,     foot     soldiers;     III. 

vii.  45. 
For,  as  for,  as  regards;  III.  vi. 

34;  III.  xii.  19;  V.  ii.  66. 
Forbear,  withdraw;  V.  ii.  175. 
Forbear  me,  leave  me  alone ;  I. 

ii.  122. 
Formal,  ordinary;  II.  v.  41. 
Forspoke,  gainsaid;  III.  vii.  3. 
Forth,  out  of;   IV.  x.  7. 
For  that,  nevertheless;  II.ii.70. 

,  because;  III.  vii.  30. 

Frame  to,  conform;  V.  i.  55. 
From,  away  from;  II.  vi.  30. 
Front,  oppose,  face;  I.  iv.  79. 
Fronted,  opposed;  II.  ii.  61. 
Frustrate,  frustrated ;  V.  i.  2. 
Fullest,  most  perfect ;  III.  xiii. 

87. 


154 


ANTONY  AND  CLEOPATRA 


Glossary 


Galley;  II.  vi.  82.    (Cp.  illustra- 
tion.) 


From  the  Vatican  Virgil  MS. 

Garhoils,  disturbances,  tur- 
moils; I.  iii.  61. 

Gaudy,  festive;  III.  xiii.  183. 

Gcsts,  deeds  (Warburton's 
conj.,  adopted  by  Theobald; 
Folios,  "guests")  \  IV.  viii. 
2. 

Get,  win ;  IV.  viii.  22. 

Give,  give  out,  represent ;  I.  iv. 
40. 

Give  off,  go  off,  cease ;  IV.  iii. 

23. 
Got,  won;  V.  ii.  30. 
Got    upon,    won,    gained ;    IV. 

xiv.  98. 
Grace,  honour ;  III.  xiii.  81. 
;  "  to  gr.,"  by  gracing ;  IV. 

xiv.  136. 
Graceful,  favourable;  II.  ii.  60. 
Grants,  allows,   admits;   III.   i. 

29- 
Grates  me,  it  vexes  me ;  I.  i.  18. 
'Greed,  agreed;  II.  vi.  38. 
Green    sickness,    a    disease    of 

women,    characterised    by    a 

pale,   lurid   complexion ;    III. 

ii.  6. 


Griefs,  grievances ;  II.  ii.  100. 
Grow  to,  be  added  to;  II.  ii.  25. 

H,  formerly  pronounced  ache ; 
here  used  with  play  upon  the 
letter  and  the  word;  IV.  vii. 
8. 

Hap,  accident,  chance ;  II.  iii. 
32. 

Haply,  perhaps ;  III.  xiii.  48. 

Hardly,  with  difficulty  ;    V.  i.  74. 

Harried,  vexed,  put  in  fear; 
III.  iii.  43. 

Hearts;  "  my  h,,"  a  familiar 
appellation;  IV.  ii.  41. 

Heaviness,  used  with  play  upon 
the  two  senses  of  the  word 
(i)  weight,  (ii)  sorrow;  IV. 
XV.  2>2>- 

Heavy,  sad ;  IV.  xv.  40. 

Held  my  cap  off,  acted  as  a 
^faithful  servant;  II.  vii.  60. 

Herod,  a  common  character  in 
the  old  Mystery  plays;  typi- 
cally, a  fierce  tyrant ;  I.  ii. 
28. 

Hie,  hasten;  II.  iii.   15. 

Hie  thee,  hasten;  V.  ii.  194. 

High-battled,  commanding 
proud  armies ;  III.  xiii.  29. 

His,  its;  III.  xii.  10. 

Holding,  burden  of  the  song; 
II.  vii.  115. 

Homager,   vassal;   I.  i.  31. 

Home,  "  without  reserve,  with- 
out ceremony  "  ;  I.  ii.   106. 

Hope,  suppose ;  II.  i.  38. 

Humanity,  human  nature ;  V.  i. 
32. 

Idleness,  f rivolousness ;  I.  iii. 
92. 


I. -5 


Glossary 


ANTONY  AND  CLEOPATRA 


//  that,  if;  III.  xiii.  80. 
hnmouicnt,  insignificant,  of  no 

moment ;  V.  ii.  166. 
Immortal,  blunder   for   mortal, 

deadly ;  V.  ii.  247. 
Imperious,    imperial ;    IV.    xv. 

23- 

Import,  carry  with  them ;  II. 
ii.  134- 

Impress,  press,  impressment ; 
III.  vii.  37. 

In,  in  for  it ;  II.  vii.  34. 

Inclips,  encloses;  II.  vii.  71. 

Ingross'd,  collected,  got  to- 
gether; III.  vii.  2>7- 

Inhoop'd,  enclosed  in  a  hoop ; 
II.  iii.  38.  (The  annexed 
copy  of  an  elegant  Chinese 
miniature  painting  represents 
some  ladies  engaged  at  this 
amusement,  where  the  quails 
are  actually  inhooped.) 


Injurious,    hurtful,    malignant ; 

IV.  XV.  76. 
Intend;  "  how  i.  you."  what  do 

you  mean ;  II.  ii.  40. 


Intrinsicatc,  intricate  (Capell's 
Errata,  "intrinsecate"; 
Wray  conj.  "intricate")  ;  V. 
ii.  304. 

Isis,  one  of  the  chief  Egyptian 
divinities  ;  originally  the  god- 
dess of  the  Earth,  afterwards 
of  the  Moon ;  her  worship 
was  afterwards  introduced 
into  Rome ;  I.  ii.  61. 

It  own,  its  own ;  II.  vii.  46. 

lack,    term    of    contempt;    III. 

xiii.  93. 
laded,  spurned;  III.  i.  34. 
lump,  hazard,   stake;   III.   viii. 

6. 

Keep;  "  k.  yourself  within 
yourself,"  keep  within 
bounds,  restrain  yourself;  II. 
V.  75. 

Kind ;  "do  his  k.,"  i.e.  "  act  ac- 
cording to  his  nature  " ;  V. 
ii.  263. 

Knave,  boy ;  IV.  xiv.   12. 

,  servant;  V.  ii.  3. 

Knoivn,  known  each  other;  II. 
vi.  86. 

Lack    blood,    turn    pale ;    I.    iv. 

52. 
Lance,    cut;    in    order   to    cure 

(Folios,      "launch" ;      Pope, 

"  launcc  ")  ;  V.  i.  36. 
Languish,      lingering      disease 

(Johnson  conj.  "  anguish  " )  ; 

V.  ii.  42. 
Lank'd,     became    thin ;     I.     iv. 

71- 
Late,  lately;  IV.  i.  13. 
Lated,  belated;  III.  xi.  3. 


156 


ANTONY  AND  CLEOPATRA 


Glossary 


Legions,  b'^dies  of  infantry, 
each  consisting  of  six  thou- 
sand men  ;  III.  x.  34. 

Length,  length  of  Hfe  (Stee- 
vens  conj.  "life")  ;  IV.  xiv. 
46. 

Letlie'd,  oblivious,  unconscious 
(Folios,   " Lethied")  ;    II.    i. 

27- 
Levell'd  at,  guessed  at ;   V.   ii. 

335- 
Lichas,  the  companion  of  Her- 
cules (Folios,  "  Licas")  ;  IV. 

xii.  45. 
Life;    "her    1.    in    Rome/'    i.e. 

her    being    brought    alive    to 

Rome;  V.  i.  65. 
Lightness,      used      in      double 

sense,    with    play    upon    the 

two   senses  of  the   word ;   I. 

iv.  25. 
Like,  same;  I.  iii.  8;  III.  vi.  z?- 

,  likely;  III.  xiii.  29. 

List,  listen  to ;  IV.  ix.  6. 
Loathness,   unwillingness;    III. 

xi.  18. 
Loof'd,  luffed,  brought  close  to 

the  wind;  III.  x.  18. 
Lottery,  prize;  II.  ii.  246. 
Loud,  in  high  words;  II.  ii.  21. 
Luxuriously,      lustfully ;      III. 

xiii.  120. 

Make  note,  notice,  observe; 
III.  iii.  26. 

Mallard,  drake ;  III.  x.  20. 

Mandr  agora,  mandrake ;  a 
plant,  the  root  of  which  was 
thought  to  resemble  the  hu- 
man figure  and  to  cause  mad- 
ness, and  even  death  when 
torn  from  the  ground;  I.  v.  4. 


Marble-constant,  firm  as  mar- 
ble; V.  ii.  240. 

Mean,  means;  III.  ii.  32. 

Mechanic,  vulgar,  journeyman- 
like ;  IV.  iv.  S2- 

Medicine,  elixir;  (?)  physi- 
cian ;  I.  v.  36. 

Meeter,  more  fitting ;  V.  i.  49 

Meetly,  well;  I.  iii.  81. 

Mered;  "  m.  question,"  i.e. 
"the  sole  cause  and  subject 
of  the  war"  (Rowe,  "meer"; 
Johnson,  "mooted" ;  Jack- 
son, "  meted  "  ;  Kinnear, 
"merest,"  etc.)  ;  III.  xi.'i.  10. 

Merely,  absolutely;  III.  vii.  8; 
III.  vii.  48. 

Merits,  deserts;  V.  ii.  178. 

Mermaids;  II.  ii.  210.  (Cp.  il- 
lustration.) 


From  L.  Andrewe's  Mvrroiir  arid  Dys- 
crypcyon  of  the  Worlde,  n.  d. 

Mind;  "  less  noble  m.,"  i.e.  be- 
ing of  less  noble  mind 
(Rowe,  Pope,  "less  noble- 
minded")  ;  IV.  xiv.  60. 


157 


Glossary 


ANTONY  AND  CLEOPATRA 


Mingle,  union ;  I.  v.  59. 

Misdoubt,  mistrust;  III.  vii.  63. 

Mislike,  dislike;  III.  xiii.  147. 

Missive,  messenger;  II.  ii.  74. 

Mis-thought,  misunderstood, 
misjudged;  V.  ii.  176. 

Modern,  ordinary;  V.  ii.  167. 

Moe,  more ;  IV.  xiv.  18. 

Moment;  "  upon  far  poorer 
m.,"  with  less  cause;  I.ii.  144. 

Moody,  sad;  II.  v.  i. 

Moons,  months ;  III.  xii.  6. 

Morn-dew,  morning-dew;  III. 
xii.  9. 

Mortal,  deadly ;  V.  ii.  303. 

Most,  utmost;  II.  ii.  168. 

Motion;  "in  my  m./'  intui- 
tively; II.  iii.  14. 

Mount;  "at  the  M.,"  i.e.  M. 
Misenum;  II.  iv.  6. 

Muleters,  muleteers,  mule- 
drivers  (Folios  2,  3,  4, 
"  Muliters"  ;  Folio  i,  "  Mili- 
ters")  ;  III.  vii.  36. 

Mused  of,  thought  of,  dreamed 
of;  III.  xiii.  83. 

Muss,  "  a  scramble,  when  any 
small  objects  are  thrown 
down,  to  be  taken  by  those 
who  can  seize  them " 
(Nares)  ;  III.  xiii.  91. 

Naught,  worthless;  IV.  xv.  78. 

Negligent;  "  in  n.  danger,"  i.e. 
in  danger  through  being 
negligent ;  III.  vi.  81. 

Nessus;  "  the  shirt  of  N.,"  the 
shirt  dipped  in  the  poisoned 
blood  of  Nessus,  which 
caused  Hercules  the  most 
terrible  agony  when  he  un- 
wittingly put  it  on  ;  IV.  xii.  43. 


Nice,  tender,   dainty;    III.  xiii. 

180. 
Nick'd,  "  set  the  mark  of  folly 

on  "  ;  III.  xiii.  8. 
Noises  it,  causes  a  disturbance  ; 

III.  vi.  96. 
Number,  put  into  verse;  III.  ii. 

17- 

O,  circle;  V.  ii.  81. 

Oblivion,  oblivious  memory, 
forgetfulness ;  I.  iii.  90. 

Observance,  powers  of  observa- 
tion ;  III.  iii.  25. 

Obstruct,  obstruction  (War- 
burton  conj.,  adopted  by 
Theobald ;  Folios,  "  ab- 
stract "  ;  Keightley,  "  ob- 
struction" \  Cartwright  conj. 
"  obstacle  ")  ;  III.  vi.  61. 

Occasion,  necessity;  II.  vi.  132. 

Of,  by;  I.  iv.  2>7 ',  H.  ii.  160. 

,  about,  concerning;  II.  vi. 

116. 

,  from;  IV.  viii.  22. 

,  for ;  IV.  XV.  60. 

,  with;  V.  ii.  212. 

OfUce,  function,  service ;  I.  i.  5. 

On,  of;  I.  v.  27;  II.  ii.  85;  III. 
ii.  61. 

Oppression,  difficulty  (Warbur- 
ton  conj.,  adopted  by  Han- 
mer,  "opposition")  ;  IV.  vii. 
2. 

Orbs,  spheres ;   III.  xiii.  146. 
Ordinary,  meal ;  II.  ii.  230. 
Ostentation,  display  (Theobald, 

"ostent";    S.    Walker    conj. 

"  ostention  ")  ;  III.  vi.  52. 
Out-go;    "the    time    shall    not 

o.,"      "life      shall     not     last 

longer  than";  III.  ii.  61. 


158 


ANTONY  AND  CLEOPATRA 


Glossary 


Outstrike,    strike    faster    than ; 

IV.  vi.  z6. 
Owe,  own;  IV.  viii.  31. 

Pace,  break  in ;  II.  ii.  64. 
Pack'd,    sorted,    shuffled   in    an 

unfair  manner;  IV.  xiv.  19. 
Pacortis,  son  of  Orodes,  King 

of  Parthia;  III.  i.  4. 
Pales,  impales,  encloses;  II.  vii. 

71. 
Pall'd,    decaying,    waning;    II. 

vii.  85. 
Palter,  equivocate;  III.  xi.  63. 
Pants,    pantings,    palpitations ; 

IV.  viii.  16. 
Paragon,  compare;  I.  v.  71. 
Parcel;    "a    p.    of,"    i.e.    of    a 

piece  with;  III.  xiii.  32. 

,  specify ;  V.  ii.  163. 

Part,  depart ;  I.  ii.  181. 
Particular,    private    affairs ;    I. 

iii.  54- 
,  personal  relation ;  IV.  ix. 

20. 
Partisan,  a  kind  of  halberd;  II. 

vii.  13. 
Parts,  sides ;  III.  iv.  14. 
Past,  beyond;  I.  ii.  147. 
Patch  a  quarrel,  make  a  quar- 
rel of  pieces  and  shreds;  II. 

ii.  52. 
Pelleted,     formed     into     small 

balls;  III.  xiii.  165. 
Penetrative,    penetrating ;     IV. 

xiv.  75. 
Perforce,  of  necessity ;  III.  iv. 

6. 
Period,  end  ;  IV.  ii.  25. 
Persisted;    "most    p.     deeds," 

deeds  most  persisted  in ;  V.  i. 

30. 


Petition;  "p.  us  at  home,"  re- 
quest us  to  come  home ;  I.  ii. 

185. 
Piece,  masterpiece ;  III.  ii.  28. 
,     master-piece      (Warbur- 

ton,    adopted    by    Theobald, 

"prize  ")  \  V.  ii.  99. 
Pinion  d,  bound ;  V.  ii.  53. 
Pink  eyne,  half-shut  eyes ;   II. 

vii.  118. 
Placed,  fixed,  firm ;  V.  ii.  238. 
Plant,  place;  IV.  vi.  9. 
Planted,  rise  (Warburton  MS., 

"planned")  ;  I.  iii.  26. 
Plants,    the    soles    of    the    feet 

(used  quibblingly)  ;  II.  vii.  2. 
P/a/^ti;,  clothed  in  armour;  I.i.4. 
Plates,  pieces  of  money,  silver 

coins ;  V.  ii.  92. 
Pleach' d,  folded ;  IV.  xiv.  y^,. 
Points,  tagged   laces,   used   for 

tying  parts  of  the  dress;  III. 

xiii.  157. 
Pole,  load-star ;  IV.  xv.  65. 
Port,  gate  ;  IV.  iv.  23. 
,  carriage,  bearing;  IV.  xiv. 

52. 
Possess,   give   possession ;    III. 

xi.  21. 
Possess  it,  i.e.   (?)   "be  master 

of  it"    (Collier   MS.,  "Pro- 
fess     it  "  ;       Kinnear      conj . 

"Pledge    it,"    etc.);    II.    vii. 

104. 
Power,  armed  force ;  III.  vii.  58. 

,  vital  organ ;  III,  xii.  2)^. 

Practised,  plotted;  II.  ii.  jo. 
Practise  on,  plot  against ;  II.  ii. 

39- 
Pray  ye,  I  pray  you,  are  you  in 

earnest    or    jesting?;    II,    vi. 

113. 


159 


Glossary 


ANTONY  AND  CLEOPATRA 


Precedence,  what  has  pre- 
ceded; II.  V.  51. 

Prescript,  direction ;  III.  viii.  5. 

Precedent,  former;  IV.  xiv.  83. 

Pregnant,  in  the  highest  degree 
probable;  II.  i.  45. 

Present,  present  purpose,  busi- 
ness ;  II.  vi,  30. 

Present,  represent;  V.  ii.  217. 

Presently,  immediately;  II.  ii. 
160. 

Process,  mandate ;  I.  i.  28. 

Project,  shape,  form  (Han- 
mer,  "  parget "  ;  Warburton. 
"Procter";  Orger  conj. 
"perfect")  ;  V.  ii.   121. 

Proof  of  harness,  armour  of 
proof,  tested  and  tried  ar- 
mour ;  IV.  viii.  15. 

Proper,  fine,  nice;  III.  iii.  41. 

Propertied,  endowed  with  qual- 
ities; V.  ii.  83. 

Prorogue,  "linger  out,  keep  in 
a  languishing  state  "  ;    II.  i.  26. 

Prosecution,  pursuit ;  IV.  xiv. 
65. 

Ptolemy;  "the  queen  of  Pt.," 
i.e.  belonging  to  the  line  of 
the  Ptolemies,  the  Mace- 
donian dynasty  in  Egypt ;  I. 
iv.  6. 

Purchased,  acquired ;   I.  iv.   14. 

Purge,  be  cured;  I.  iii.  53. 

Pyramises,  pyramids  ;  II.  vii.  35. 

Quality,  character ;  I.  ii.  193. 
Queasy,  disgusted ;  III.  vi.  20. 
Quick,  lively,   sprightly;   V.   ii. 

216. 
Quicken,  receive  life ;   IV.   xv. 

39- 
Quit,  requite;  III.  xiii.  124. 


Race;  "  r.  of  heaven,"  "  of 
heavenly  origin"  (Schmidt)  : 
"smack  or  flavour  of  heaven"' 
(  Warburton  )  ;  (  Hanmer. 
"ray")  ;  I.  iii.  37. 

Rack,  floating  vapour ;  IV.  xiv. 
10. 

Ram,  thrust  (Hanmer,  "i^am'" ; 
Delius  conj.  "  Cf'am")  ;  II. 
V.  24. 


From  the  sculpture  on  Trajan's  column 
at  Rome. 


Ranged,  disposed  in  order ;  I.  i. 

34- 

Ranges,  ranks ;   III.   xiii.  5. 

Rates,  is  worth;  III.  xi.  69. 

Raitght,  reached;  IV.  ix.  29. 

Reel,  stagger  as  a  drunkard ;  I. 
iv.  20. 

Regiment,  sway  III  vi.  95. 

Religion,  sacred,  holy  obliga- 
tion ;  V.  ii.  199. 

Remarkable,  worthy  of  note, 
distinguished ;    IV.   xv.  6y. 

Remove,  removal,  departure; 
I.  ii.  198. 

Render,  give  up;  III.  x.  Z2>- 

Render'd,  gave  up  (Folio  i, 
"  rendred " ;  Folios  2,  3,  4, 
"  tendred")',  IV.  xiv.  ZZ- 

Reneges,  denies ;  I.  i.  8. 


160 


ANTONY  AND  CLEOPATRA 


Glossary 


Reports,  reporters ;  II.  ii.  47. 

Requires,h&g?,,2isks;   III.xii.12. 

Revolted,  who  have  revolted ; 
IV.  ix.  8. 

Ribaudrcd,  lewd  (Steevens 
conj.,  adopted  by  Malone, 
"  Yon' ribald-rid  nag";  Tyr- 
whitt  conj.  Collier  (ed.  2), 
"  Yon     ribald     hag,"     etc.)  ; 

III.  X.  10. 

Riggish,  wanton ;  II.  ii.  243. 
Right,  very,  true;    IV.  xii.  28. 
Rivality,  co-partnership ;  III.  v. 

8. 
Rive,  split,   sever;   IV.   xiii.   5. 

Safe,  make  safe ;    I.  iii.  55. 
Safed,  conducted  safely   (Stee- 
vens conj.;  Folios,  "  saf't")  ; 

IV.  vi.  26. 

Salt,  wanton;    II.  i.  21. 
Scald,    scabby,    scurvy;     V.    ii. 

215. 
Scantly,  grudgingly;    III.  iv.  5. 
Scotches,  cuts ;    IV.  vii.  10. 
Scrupulous,  "  prying  too  nicely 

into     the     merits     of     either 

cause  "  ;    I.  iii.  48. 
Seal,   make   an   end    (Hanmer, 

"sleep";        Johnson       conj. 

"  seel  ")  ;     IV.   xiv.   49. 
Seel,    blind ;     a    term    of    fal- 
conry;   III.  xiii.   112. 
Self,  same;    V.  i.  21. 
Semblable,  similar;    III.  iv.  3. 
Sennet,   a   set   of  notes  played 

on  the  trumpet  or  cornet ;  II. 

vii.  17   (direc). 
Several,  separate ;    I.  v.  62. 
Shall,  will;    II.  i.  I. 
Shards,  wing-cases  of  beetles ; 

III.  ii.  20. 


Should  make,  ought  to  have 
made;    V.  i.  14. 

Shown,  appeared,  shown  your- 
selves ;    IV.  viii.  7. 

,  made  a  show  of,  ex- 
hibited;    IV.  xii.  2>^. 

Shows,  seems,  appears;  I.  ii. 
165. 

Shrewd,  bad;    IV.  ix.  5. 

Shrowd,  shelter,  protection 
(Hanmer,  "  sJirowd,  the 
great,";  Collier  MS., 

"  shrowd,  who  is  "  ;  Bulloch 
conj.  "stewardship";  Gould 
conj.    "shield");     III.    xiii. 

71. 
Signs;    "  it    s.    well,"    it    is    a 

good  omen ;    IV.  iii.   14. 
Sirs,  used  with  reference  to  the 

waiting-women ;    IV.  xv.  S^. 
Snare,  trap ;    IV.  viii.  18. 
So,  if  only  (according  to  some 

==  thus)  ;    I.  iii.  73. 

,  if;    III.  xiii.   15. 

Sober,  modest,  demure ;    V.  ii. 

54- 
Soils,         blemishes  (Folios, 

"  foyles  "  and  "  foyls  "  ;  Col- 
lier conj.  "foibles")  ;    I.  iv. 

24- 

Something,  somewhat ;  IV.  viii. 
20;    V.  ii.  348. 

Soonest,  quickest;    III.  iv.  27. 

Soothsay,  predict ;    I.  ii.  48. 

Sottish,  stupid;  IV.  xv.  79. 

Space,  space  of  time,  time 
enough;    II.  i.  31. 

Spaniel'd,  followed  like  a  span- 
iel, a  dog;    IV.  xii.  21. 

Speeds,  succeeds,  prospers;  II. 
iii.  35- 

Spot,  disgrace;    IV.  xii.  35. 


161 


Glossary 


ANTONY  AND  CLEOPATRA 


Spritely,  lively;    IV.  vii.   15. 

Square,  quarrel,  fight;  II.  i. 
45;    III.  xiii.  41. 

;     "kept   my    square,"    i.e. 

kept  my  rule,  proper  posi- 
tion, "  kept  straight  "  ;  II.  iii. 
6. 

Square,  fair,  just;    II.  ii.  188. 

Squares,  squadrons;  III.  xi. 
40. 

Stablishment,  settled  inheri- 
tance ;  III.  vi.  9. 

Staged,  exhibited  publicly ;  III. 
xiii.  30. 

Stain,  eclipse  (Theobald, 
"  strain  " ;  Warburton  MS. 
and  Boswell  conj.,  adopted 
by  Collier  (ed.^  2) ,  "  stay  "  ; 
Jackson  conj.  "stun,"  etc.); 

III.  iv.  27. 

Stall,  dwell ;   V.  i.  39. 

Stand  on,  be  particular  about ; 

IV.  iv.  31. 

Stands  upon;  "  s.  our  lives  u.," 
i.e.  concerns  us,  as  we  value 
our  lives ;    II.  i.  50. 

Station,  mode  of  standing;  III. 
iii.  22. 

Stays  upon,  awaits;    I.  ii.   116, 

Steer,  direct,  control ;    V.  i.  32. 

Still,  continually,  always;  III. 
ii.  60. 

Stir/d,  roused,  incited ;   I.  i.  43. 

Stomach,  inclination;    II.  ii.  50. 

,  resent;    III.  iii.  12. 

Stomaching,  giving  way  to  re- 
sentment;   II.   ii.  9. 

Straight,  straightway,  immedi- 
ately;   II.  ii.  171;    IV.  xii.  3. 

Strangler,  destroyer  (Folios  2, 
3,  4,  "  stranger " ;  Rowe, 
"estranger")  ;    II.  vi.   122. 


Stroyd,  destroyed;   TIL  xi.  54. 
Studied;      "  well      s.,"      desire 

earnestly;    II.  vi.  48. 
Subscribe,  sign;    IV.  v.  14. 
Success,  result,  issue;   III.  v.  6. 
Such,  very  great,  very  consid- 
erable ;    III.  iii.  44. 
Suffer,  sustain  loss  or  damage ; 

Ill.^xiii.  34. 
Sufficing,    sufficient;    IV.    xiv. 

117. 
Sum;  "the  s.,"  i.e.  tell  me  the 

whole  in  few  words ;  I.  i.  18. 
Szi'order,    gladiator;     III.    xiii. 

31. 
Synod,    the    assembly    of    the 

gods;    III.  X.  5. 

Tabourines,  drums  ;   IV.  viii.  ^y. 
Take  in,  take,   conquer ;     I.   i. 

23;    III.  vii.  24. 
Tall,  sturdy;    II.  vi.  7. 
Targes,  targets,  shields  ;    II.  vi. 

40. 
Teeth;  "  from  his  t.,"  not  from 

his   heart ;     III.   iv.    10. 
Telamon,  Ajax  Telamon;    IV. 

xiii.  2. 
Temper,  freedom  from  excess ; 

I.  i.  8. 
Temperance,      chastity ;        III. 

xiii.   121. 
,  moderation,  calmness ;  V. 

ii.  4S. 
Tended;    "  t.  her  i'  the  eyes." 

watched   her  very   look;     II. 

ii.  210. 
Terrene,     terrestrial,     earthly; 

III.   xiii.    153. 
Thanks,     thanks     for     (Capell 

conj.  "thanks  for'');    V.  ii. 

21. 


162 


ANTONY  AND  CLEOPATRA 


Glossary 


Them,  themselves  (Capell's 
emendation  ;  Folios,  "  his  "  ; 
Theobald,  "their");  III. 
vi.  88. 

Theme;  "  was  th.  for  you," 
was  undertaken  in  your  in- 
terest ;    II.  ii.  44. 

Thereabouts,  of  that  opinion ; 
III.  X.  30. 

Thetis;  "  my  Th.,"  i.e.  "  my 
sea-goddess";    III.   vii.   61. 

Thick;  "so  th.."  i.e.  in  such 
quick  succession  ;    I.  v.  63. 

Thickens,  grows  dim;  II.  iii. 
27. 

Think;  "  th.  and  die,"  i.e.  "  de- 
spond and  die "  (Hanmer, 
''Drink";  Tyrwhitt  conj. 
"Wink";  Bccket  conj. 
"  Swink  ")  ;     III.   xiii.    i. 

Thought,  sorrow;    IV.  vi.  36. 

Throes,  puts  in  agony    (Folios 

I,  2,  3,  "  throwes  "  ;  Folio  4. 
"  throivs  "  ;  perhaps  "  throzcs 
forth  "^brings  forth)  ;  III. 
vii.  81. 

Throw    upon,  bestow  upon ;    I. 

ii.  189. 
Tight,  able,  adroit;    IV.  iv.  15. 
Timelier,  earlier ;    II.  vi.  52. 
Tinct,  tincture ;    I.  v.  37. 
Tires,  head-dresses,  head-gear ; 

II.  V.  22. 

Token'd;  "the  t.  pestilence," 
spotted  plague  ;  "  the  death 
of  those  visited  by  the 
plague  was  certain  when  par- 
ticular eruptions  appeared 
on  the  skin ;  and  these  were 
called  Goa's  tokens"  (Stee- 
vens)  ;    III.  x.  9. 

Top,  height  of;    V.  i.  43. 


To  't,  to  get  to  it ;    III.  x.  32. 

Touch,  attain;    V.  ii.  330. 

Touches,  sensations,  feelings ; 
I.  ii.  182. 

Toward,  in  preparation ;  II. 
vi.  74. 

Toys,  trifles;    V.  ii.  166. 

Treaties,  proposals  for  a 
treaty;    III.  xi.  62. 

Triple,  third;    I.  i.   12. 

Triple-turn'd,  three  times  faith- 
less (Jackson  conj.  "  triple- 
train'd");    IV.  xii.   13. 

Trull,  worthless  woman;  III. 
vi.  95. 

Turpitude,    extreme    baseness; 

IV.  vi.  33. 

Undoing,    destruction;     V.    ii. 

44. 
Unequal,  unjust;   II.   v.    loi. 
Unfolded,  exposed;    V.  ii.  170. 
Unnoble,  ignoble;    III.  xi.  50. 
Unpolicied,    devoid    of  policy; 

V.  ii.  308. 

Unpurposed,  not  intended;    W. 

xiv.  84. 
Unqualitied,     deprived     of    his 

character  and  faculties;    III. 

xi.  44. 
Unsemina/d,  destitute  of  seed; 

I.   V.    II, 

Unstate,  divest  of  estate  and 
dignity;     III.   xiii.  30. 

Unto,  over;    II.  ii.  145. 

Upon  the  river,  upon  the  shores 
of  the  river ;    II.  ii.  190. 

Urge;  "  did  u.  me  in  his  act," 
"  made  use  of  my  name  as  a 
pretence  for  the  war  "  (War- 
burton)  ;    II.   ii.  46. 

Urgent,  pressing;    I.  ii.  182. 


163 


Glossary 


ANTONY  AND  CLEOPATRA 


Use;    "  in  u.,"  in  usufruct ;    I. 

iii.  44. 
Use,  are  used,  are  accustomed; 

II.  V.  32. 
Useful,  usefully ;    IV.  xiv.  80. 

Vacancy,  empty  and  idle  time ; 
I.  iv.  26. 

Vantage,  advantage;  III.  x.  12. 

Varletry,  rabble  (Folio  i, 
"  Varlotarie  "  ;  Folios  2,  3, 
4,  "Varlotry")  ;    V.  ii.  56. 

Vessels;  "strike  the  v.,'  i.e. 
"  tap  the  casks  "  (  ?  "  strike 
your  cups  together  ")  ;  II. 
vii.  100. 

Vials;  "sacred  v.,"  "alluding 
to  the  lachrymatory  vials,  or 
bottles  of  tears,  which  the 
Romans  sometimes  put  into 
the  urn  of  a  friend  " ;  I.  iii. 
^3-     (Cp.  ilustration.) 


From  specimens  found  in  Roman 
cemeteries  in  England. 

J'ie,  contend  with,  rival ;  "  v. 
strange  forms  with  fancy," 
i.e.  "  contend  with,  rival, 
fancy  in  producing  strange 
forms";  V.  ii.  98. 


Viezu;    "  to  my  sister's  v.,"  to 

see  my  sister;    II.  ii.  169. 
Virtue,  valour;    IV.  viii.  17. 

Waged,  were  opposed  to  each 
other  (Folio  2,  ^^zvay";  Fo- 
lios 3,  4,  "  may  " ;  Rowe, 
"  weigh' d  "  ;  Ritson  conj. 
"Weigh");  V.  i.  31. 

IVail'd,  bewailed;    III.  ii.  58. 

Waned,  faded  (Folios, 

"zvand";  Johnson  conj. 
"fond  ")  ;    II.  i.  21. 

]V  assails,  carousing  ( Pope's 
emendation  of  Folios  i,  2,  3, 
"  Vassailes  "  and  "  Vas- 
sails " ;  Folio  4,  "  Vas- 
sals ")  ;    I.  iv.  56. 

Way's,  way  he  is  (so  Folio  4; 
Folios  I,  2,  3,  "  zvayes " ; 
Hanmer,  "  zvay  he's  ")  ;  II. 
V.  117. 

Weet,  wit,  know ;  I.  i.  39. 

Well  said,  well  done;  IV.  iv. 
28. 

Wharfs,   banks ;   II.   ii.  216. 

What,  why  (Collier  MS., 
"Why");  V.  n.  313. 

Which,  who;  I.  ii.  4. 

Whipp'd  with  wire;  II.  v.  65. 
(The  engraving  represents 
two  Roman  whips.  The 
thongs  of  the  larger  one  are 
set  with  bones  taken  from 
sheeps'  feet,  the  other  is 
composed  of  metal  knobs 
and  chains.) 

Whole,  well  again;  IV.  viii.  11. 

Windowed,  placed  in  a  win- 
dow ;  IV.  xiv.  72. 

With,  by;  I.  i.  56;  III.  x.  7; 
V.  ii.  171. 


104 


ANTONY  AND  CLEOPATRA 


Glossary 


With's,  with   us;    III.   i.  36. 
Woo't,   wouldst   thou    (Capell, 

"Won't")  ;    IV.   ii.  7. 
Words,     flatters     with     words, 

cajoles;  V.  ii.  191. 
Worky-day,  ordinary;  I.  ii.  51. 
Worm,  snake;  V.  ii.  243. 
Wot'st,  knowest ;  I.  v.  22. 


Wrongled,      misled       (Capell, 
"  wrong'd")  ;   III.  vi.  80. 

Yare,  light,  active ;  III.  vii.  39. 

,  ready;  III.  xiii.  131, 

,  be  quick;  V.  ii.  283. 

Yarely,  readily;   II.  ii.  214. 
Yield,  reward,  requite  ;    IV.  ii.  S3. 


Roman  whips  (See  II.  v.  65.) 


165 


ANTONY  AND  CLEOPATRA 


Critical  Notes. 

BY  ISRAEL  GOLLANCZ. 

I.  i.  i8.  'Grates  me:  the  sum.'',  Folio  i,  'Grates  me,  the 
summe.' ;  Folios  2,  3,  '  Rate  me,  the  smnme.' ;  Rowe,  '  Rate  me 
the  sum.' ;  Pope,  'It  grates  me.  Tell  the  sum.' ;  Capell,  '  'T  grates 
me: — The  sum.';  Steevens   (1793),  'Grates  me: — The  sum.' 

I.  i.  60-61.  'liar,  who  Thus  speaks  of  him';  Pope  reads  'liar 
Fame,  Who  speaks  him  thus.' 

I.  ii.  5.  'charge';  Warburton  and  Southern  MS.  conj.,  adopted 
by  Theobald;  Folios,  'change';  Jackson  conj.  'chain';  Williams 
conj.  '  'hang.' 

I.  ii.  38.  'fertile';  Warburton  conj.,  adopted  by  Theobald; 
Folios,  'foretell'  and  '  foreteV ;  Pope,  'foretold' ;  Collier  MS., 
'  fruitful.' 

I.  ii.  59-60.  'Alexas, — come';  Theobald's  reading  of  the  Folio 
text,  where  Alexas  is  erroneously  printed  as  though  the  name 
of  the  speaker. 

I.  ii.  79.  'Saw  you  my  lord?' ;  so  Folios  2,  3,  4;  Folio  i  reads 
'  Saue  you,  my  lord.' 

I,  ii.  100-105.  The  arrangement  of  the  text  was  first  given  by 
Steevens. 

I.  n.  111.  '  minds' ;  Warburton  conj.,  adopted  by  Hanmer; 
Folios  I,  2,  '  windes';  Collier  conj.  '  zvints.' 

1.  ii.  129.  'enchanting' ;  so  Folio  1;  omitted  in  Folios  2,  3,  4; 
Rowe  reads  'Egyptian.* 

I.  ii.  138.  '  a  compelling  occasion  ' ;  Rowe's  emendation  of 
Folios,  'a  compelling  an  occasion';  Nicholson  conj.  'so  com- 
pelling an  occasion,'  etc. 

I.  ii.  195-196.  '  like  the  courser's  hair,'  etc..  alluding  to  the 
popular  notion  that  horsehair  put  into  water  will  turn  into  a  snake 
or  worm. 

I.  iv.  3.  'Our';  Heath  and  Johnson  conj.,  adopted  by  Singer; 
Folios,  'One';  Hanmer,  'A.' 

I.  iv.  22.  'as';  Johnson  conj.  'and.' 

166 


ANTONY  AND  CLEOPATRA 


Notes 


Johnson,    'your 


I.  iv.  46.  'lackeying';  '  lacquying'  Theobald's  correction  from 
Anon.  MS.;  Folios,  'lacking';  Pope,  'lashing';  Southern  MS., 
'  hacking.' 

I.  V.  48.  'an  arm-gaunt' ;  Folios,  'an  Arme-gaunt' ;  Hanmer, 
'an  arm-girt';  Mason  conj.,  adopted  by  Steevens,  1793,  'a  ter- 
magant'; Jackson  conj.  'a  war-gaunt' ;  Boaden  conj.,  adopted 
by  Singer,  'an  arrogant';  Lettsom  conj.  'a  rampaunt' ;  the  latter 
ingenious  emendation  certainly  commends  itself  ;  unless  '  arm- 
gaunt '  =z' hsLv'mg  lean  fore-limbs.' 

I.  V.  50.  '  beastly  ' ;  Hanmer,  '  beast-like  ' ;  Collier  MS.,  '  boast- 
fully'; Becket  conj.  'basely.' 

II.  i.  10.  'powers  are  crescent';  Theobald  reads,  '  pozv'r's  a 
crescent';  Becket  conj.  'power  is  crescent ' ;  Anon.  conj.  'power's 
a-crescent.' 

II.  ii.  44.  'Was  theme  for  you,'  i.e.  '  had  you  for  its  theme ' ; 
Johnson  conj.  'Had  theme  from  you';  Collier  (ed.  2),  'For  theme 
was  you';  Staunton  conj.  'Had  you  for  theme';  Orson  conj. 
'Was  known  for  yours,'  etc. 

II.  ii.  III.  'your    considerate    stone,'    i.e.    'I    am    silent    as    a 
stone';    Heath   conj.   'your   confederate   love 
considerate    ones ' ;    Blackstone 
conj.  'your  consideratest  one,' 
etc.,  etc. 

II.  ii.  211.  'And  made  their 
bends  adornings ' ;  i.  e.  "  and 
made  their  very  act  of  obei- 
sance an  improvement  on  their 
beauty"  (Steevens);  the  pas- 
sage has  been  variously  inter- 
preted, but  this  seems  tlie 
simplest  solution. 

II.  ii.  218.  'A  n  t  0  n  y,  e  n- 
throned  i'  the  market-place, 
did  sit  alone.'  A  good  idea  of 
the  public  enthronement  of  the 
Roman  emperors  is  afforded 
by  the  accomnan.ving  engraving  of  a  coin  of  Trajan.  The  em- 
peror superintends  the  bestowal  of  gifts  upon  his  citizens  by  his 
steward. 

II.  iii.  2.  'my  prayers';  Rowe  reads  'in  prayers';  Collier  MS., 
'  ivith  prayers.' 

167 


'  Anthony  ejtthroned  in  the  market- 
place did  sit  alonc.^ 


Notes 


ANTONY  AND  CLEOPATRA 


His  cocks  do  win  the  battle.^ 


II.  V.  12.  '  T aiamy-Hmii  d 


II.  iii.  22.  'a  fear';  Collier  (ed.  2),  Thirlby  conj.  '  afeard';  S. 
Walker  conj .  '  afear.' 

II.  iii.  30.  '  he  away,  'tis ' ; 
Pope's  emendation  of  Folio  i, 
'  lie  alway  'tis ' ;  Folios  2,  3, 
4,  'he  alway  is.' 

II.  iii.  36.  '  His  cocks  do 
win  the  battle.'  The  accom- 
panying representation  of  a 
cock-fight,  presided  over  by 
two  genii  deeply  interested  in 
the  game,  is  derived  from  a 
bas-relief  on  an  ancient  Roman 
lamp  in  terra  cotta. 

II.  iii.  38.  '  inhoop'd,'  i.e.  en- 
closed in  a  hoop  ;  Hanmer.  '  in- 
coop'd';  Seward  conj.,  adopted 
by   Capell,   '  in   zvhoop'd-at.' 
Theobald's    emendation    of    Folios, 
Tawny-fine ' ;  Rowe  reads  '  Tawny-fin.' 

II.  V.  103.  'That  art  not  what  thou'rt  sure  of!';  Hanmer, 
'  That  say'st  but  zvJiat  thou'rt 
sure  of;  Johnson  conj.  '  That 
art — not  what? — Thou'rt  sure 
on't'  etc.;  perhaps  the  words 
of  the  text  mean  'that  are  not 
the  evil  thing  of  which  thou 
art  so  certain  ' ;  other  inter- 
pretations have  been  advanced. 
II.  V.  116.  'Though  he  be 
painted  one  uny  like  a  Gor- 
gon' alluding  to  the  old  '  per- 
spective '  pictures  showing  one 
picture  from  one  point  of  view, 
another  from  another  stand- 
point. 

II.  vii.  52.  '  the  tears  of  it 
are  wet ' ;  Topsell's  History  of 
Serpents  (1608)  refers  to  the 
'  common  proverbe  crocodili  lachrimcc. 


'  The  tears  of  it  are  wet.^ 


(The  popular  sixteenth 
century  notions  of  the  form  of  the  crocodile  are  seen  in  the  an- 
nexed engraving,  which  is  copied  from  an  old  woodcut.) 

16S 


ANTONY  AND  CLEOPATRA  Notes 

II.  vii.  "jG.  'there';  Pope,  'then';  Steevens  conj.  'theirs.' 
II.    vii.    97.  '  increase    the    reels ' ;    Steevens    '  and    grease    the 
zvheels';  Douce  'increase  the  revels.' 

II.  vii.  115.  'bear';  Theobald's  emendation;  Folios,  'heat.' 

III.  V.  14.  '  Then,  world,  thou  hast ' ;  Hanmer's  emendation ; 
Folios,  '  Then  would  thou  hadst';  Warburton  MS.,  '  Then  ivoiild 
thou  hadst' ;  'chaps,  no'  Theobald's  reading  of  Folios,  '  chaps  no.' 

III.  vi.  53.  'left  unloved' ;  Collier  MS.,  '  held  unloved' ;  Singer 
conj.,  adopted  by  Hudson,  'felt  unloved';  Seymour  conj.,  'left 
unvalued.' 

III.  vii.  5.  '//  not  denounced  against  us';  Hanmer  reads,  '  Is't 
not  denounc'd  'gainst  us?';  Jackson  conj.,  'Is't  not?  Denounce 
against  us! ' ;  etc. 

III.  vii.  69.  '  his  whole  action  grozvs  Not  in  the  pozver  on  't'  i.e. 
"  his  whole  conduct  in  the  war  is  not  founded  upon  that  which  is 
his  greatest  strength,  namely,  his  land  force,  but  on  the  caprice  of 
a  woman,"  etc.  (Malone). 

III.  xii.  13.  'lessens';  Folio,  'Lessons.'  Mr.  A.  E.  Thiselton, 
in  support  of  the  Folio  reading,  which  he  interprets  '  schools  '  or 
'  disciplines,'  calls  attention  to  the  initial  capital  letter  indicating 
'  an  emphasis  which  the  feeble  lessens  would  hardly  carry.' 

III.  xii.  28-29.  'And  in  our  name,  zvhat  she  requires;  add  more, 
From  thine  invention,  offers';  Grant  White  conj.,  'What  she  re- 
quires; and  in  our  name  add  more  Offers  from  thine  invention  ' ; 
Walker,  'and  more     .     .     .     From  thine  invention  offer.' 

III.  xiii.  162.  '  Cccsarion  smite';  Hanmer's  emendation;  Folios, 
'  Caesarian  smile.' 

IV.  iv.  3.  '  mine ' ;  Folios,  '  thine.' 

IV.  iv.  5-8.  The  text  follows  Malone's  arrangement  and  read- 
ing {vide  Cambridge  Edition.  Note  VI.). 

IV.  V.  17.  'Dispatch.  Enobarbus! ' ;  Steevens  (1773)  reading; 
Folio  I,  '  Dispatch  Enobarbus ' ;  Folio  2,  '  Dispatch  Eros ' ;  Folios 
3,  4,  'Dispatch,  Eros';  Pope,  'dispatch  my  Eros';  Johnson  conj. 
'  Dispatch!  To  Enobarbus ! ' ;  Capell,  '  Dispatch. — O  Enobarbus! ' ; 
Rann,  'Eros!  Dispatch';  Ritson  conj.,  adopted  by  Steevens  1793, 
'Eros,  despatch';  Anon,  conj.,  '  Domitius  Enobarbus! '. 

IV.  vi.  13.  '  persuade  ' ;  Rowe's  correction  of  Folios,  '  disszvadc.' 

IV.  viii.  2T,.  '  favouring  ' ;  Theobald's  emendation  of  Folios, 
'  savouring.' 

IV.  xii.  25.  'soul';  Capell.  'soil';  Singer  (ed.  2)  from  Collier 
MS.,  'spell';    S.   Walker   conj..   'snake':    'grave';    Pope    reads 

169 


Notes 


ANTONY  AND  CLEOPATRA 


'gay';  Collier  (ed.  2)  from  Collier  MS.,  'great';  Singer  (ed.  2), 
'  grand/ 

IV.  xiv.  87.  '  Lo  thee';  Grant  White  conj.,  '  Lo  there.' 
IV.  XV.  10.  '  Burn  the  great  sphere  ' ;  Hanmer,  '  Turn  from  the 
sphere  ' ;  Warburton,  '  Turn  from  th'  great  sphere.' 

IV.  XV.  II.  'shore';  Staunton  conj.,  adopted  by  Hudson,  'star.' 
IV.  XV.  21.  '/  dare  not';  Malone  conj.,  'I  dare  not  descend'; 
Ritson  conj.,  adopted  by  Wordsworth,  '/  dare  not  come  dozvn'; 
Anon.  conj..  from  Plutarch,  '  /  dare  not  ope  the  gates' ;  etc. 

IV.  XV.  44.  '  the  false  house- 
wife Fortune  break  her  wheel.' 
(Cp.  illustration.) 

IV.  XV.  73.  '  No  more,  but  e'en 
a  ivoman  ' ;  Capell's  version ;  Fo- 
lios   read    'No    more    but    in    a 


'  Fortune  and  her  whceU 
From  a  large  brass  coin  of  Gordian. 


Woman  ' ;  Rowe,  '  No  more  but 
a  meer  woman';  Johnson  conj., 
adopted  by  Steevens,  1773,  1778, 
'  No  more — but  e'en  a  woman.' 

V.  i.  15.  'crack:  the  round 
world';  Steevens  conj.,  'crack 
than  this:  the  ruin'd  world'; 
Singer  conj.,  'crack:  the  round 
world  convulsive ' ;  Nicholson 
conj.,  'crack:  the  round  world  in  rending';  Daniel  conj.,  'crack 
in  the  round  zvorld  ' ;  etc. 

V.  i.  24.  '  S  putted  the  heart';  Collier  MS.,  'Split  that  self 
noble  heart';  Elze  conj.,  '  Splitted  that  very  heart.' 

V.  i.  59-60.  'live  To  be  ungentle';  Rowe  (ed.  2)  and  Southern 
MS. ;  Folios  read  '  leaue  to  be  ungentle  ' ;  Capell,  '  Leave  to  be 
gentle';  Tyrwhitt  conj..  'learn  To  be  ungentle';  Gould  conj., 
'  bear  to  be  ungentle.'   ■ 

V.  ii.  7.  '  dug ' ;  Warburton  conj.,  adopted  by  Theobald,  '  dugg  ' ; 
Folios,  'dung';  Nicholson  conj.,  'tongue';  Cartwright  conj., 
'zvrong';  Bailey  conj.,  'doom.' 

V.  ii.  50.  'necessary' ;  Hanmer.  'accessary' ;  Malone  conj., 
'necessary,  I'll  not  so  much  as  syllable  a  word';  Ritson  conj., 
'necessary,  I  will  not  speak;  if  sleep  be  necessary.' 

V.  ii.  87.  '  an  autumn  'twas';  Theobald  and  Thirlby  conj.; 
Folios  read  '  an  Anthony  it  was  ' ;  etc. 

V.  ii.  104.  'smites';  Capell's  emendation;  Folios  i,  2,  'suites'; 

170 


ANTONY  AND  CLEOPATRA 


Notes 


Folios  3,  4,  'suits';  Pope  'shoots.'  I  am  inclined  to  agree  with 
Mr.  A.  E.  Thiselton  that  Pope's  correction  is  unimpeachable. 

V.  ii.  174.  '  my  chance'  i.e.  my  changed  fortune,  lot ;  Hanmer 
reads  'mischance' ;  S.  Walker  conj.,  'my  change' ;  Ingleby  conj., 
adopted  by  Hudson,  '  my  glance.' 

V.  ii.  178-179.  'We  answer  others'  merits  in  our  name,  Are'; 
Malone's  reading;  Folios,  ''  We  anszver  others  merits,  in  our  name 
Are';    etc. 

V.  ii.  352.  'caves';  so  Folios  2,  3,  4;  Folio  i,  '  caucs';  Barry 
conj.,  '  caries  ' ;  Anon,  conj.,  '  eaves  ' ;  Perring  conj.,  '  course.' 


'The  barge  she  sat  ttt'  (II.  11.    194.) 
From  a  wall-painting  on  the  tomb  of   Rameses  III.,  at  Thebes. 


171 


ANTONY  AND  CLEOPATRA 


Explanatory  Notes, 


The  Explanatory  Notes  in  this  edition  have  been  specially  selected  and 
adapted,  with  emendations  after  the  latest  and  best  authorities,  from  the 
most  eminent  Shakespearian  scholars  and  commentators,  including  Johnson, 
Malone,  Steevens,  Singer,  Dyce,  Hudson,  White,  Furness,  Dowden,  and 
others.  This  method,  here  introduced  for  the  first  time,  provides  the  best 
annotation  of  Shakespeare  ever  embraced  in  a  single  edition. 


ACT  FIRST. 
Scene  I. 

8.  reneges : — Coleridge's  suggestion  that  this  word  should  be 
spelled  reneaguc  is  supported  by  the  following  passage  quoted  in 
Richardson's  Dictionary  from  Udal's  New  Testament,  Luke  i. : 
"Those  that  vaunted  themselves  by  the  glorious  name  of  Israel, 
those  he  hath  rcneagucd  and  put  away  from  the  inheritance  of 
the  promises  made  unto  Israel." 

I.  There's  beggary,  etc.: — So  in  Romeo  and  Juliet,  II.  vi.  32: 
"  They  are  but  beggars  that  can  count  their  worth."  .  And  in 
Martial,  vi.  36:    "  Basia  pauca   cupit,  qui  numerare  potest." 

17.  Then  must  thou  needs,  etc. : — Then  must  you  set  the  bound- 
ary at  a  distance  greater  than  the  present  visible  universe  affords. 

44.  for  tJie  lore  of  Love : — That  is,  for  the  sake  of  the  goddess 
of  Love. 

53.  To-night,  etc. : — So  ir#Plutarch's  Life  of  Antonius:  "  Some- 
time also,  when  he  would  go  up  and  down  the  city  disguised 
like  a  slave  in  the  night,  and  would  peer  into  poor  men's  win- 
dows and  their  shops,  and  scold  and  brawl  with  them  within  the 
house,  Cleopatra  would  be  also  in  a  chamber-maid's  array,  and 
amble  up  and  down  the  streets  with  him." 

60.  That  he  confirms  the  common  liar,  Fame,  in  his  case  to  be 
a  true  reporter.  Shakespeare  elsewhere  uses  approve  for  prove, 
as  also  approof  for  proof. 

172 


ANTONY  AND  CLEOPATRA  Notes 

Scene  II. 

22,.  heat  my  liver:— Tht  liver  being  considered  the  seat  of  love, 
Charmian  says  she  would  rather  heat  her  liver  with  drinkmg  than 
with  love's  fire.     A  heated  liver  was  supposed  to  make  a  pimpled 

27.  a  child  at  fifty :—'  This,"  says  Johnson,  "  is  one  of  Shake- 
speare's natural  touches.  Few  circumstances  are  more  flattermg 
to  the  fair  sex  than  breeding  at  an  advanced  period  of  life." 

35.  no  «aw^.f :— Charmian  has  not  been  married,  and,  if  she  is 
not  to  have  better  fortune,  her  children  will  not  know  their 
father,  therefore  will  be  bastards  and  nameless.  So  in  the  Two 
Gentlemen  of  Verona,  III.  i.  14-16:  "That's  as  much  as  to  say, 
bastard  virtues;  that,  indeed,  know  not  their  fathers,  and  there- 
fore have  no  names." 

49,50.  an  oily  palm,  etc. :— This  prognostic  is  alluded  to  m 
Othello,  III.  iv.:— 

"This  hand  is  moist,  my  Isidy.     .     .     .    ^ 
This  argues  fruitfulness  and  liberal  heart." 

10 1.  Stiff  news  is  hard  nezt'S. 

102.  Exteiided  Asia  from  Euphrates:— Extend  is  often  found 
in  the  old  writers  for  sei::e;  extent  for  seizure,  etc.  So  in  As  You 
Like  It,  III.  i.  16,  17:— 

"  And  let  my  officers  of  such  a  nature 
Make  an  extent  upon  his  house  and  lands." 

So  too  in  Selimus,  Emperor  of  the  Turks,  1594:— 

Ay,  though  on  all  the  world  we  make  extent  ^ 
From  the  south  pole  unto  the  northern  bear." 

Plutarch  tells  us  that  Labienus  was  by  the  Parthian  king  made 
general  of  his  troops,  and  had  overrun  Asia  from  Euphrates,  and 
Syria  to  Lydia  and  Ionia.  Euphrates  here  is  accented  on  the  first 
syllable.  Shakespeare  uses  the  name  only  in  this  instance.  _  Dray- 
ton's Polyolbion,  21,  has  it  accented  in  the  same  way  in  this 
line :  "  That  gliding  go  in  state,  like  swelling  Euphrates." 

125-127.  the  present  pleasure,  etc. :— The  pleasure  of  to-day,  by 
revolution  of  events  and  change  of  circumstances,  often  loses  all 
its  value  to  us,  and  becomes  to-morrow  a  pain.  There  seems  to 
be  an  implied  allusion  to  the  turning  of  a  wheel,  suggested,  as 
some  think,  by  the  "  wheel  of  fortune." 

173 


Notes  ANTONY  AND  CLEOPATRA 

Scene  III. 

3.  /  did  not  send  you : — "  You  must  go  as  if  you  came  without 
my  order  or  knowledge."  So  in  Troilus  and  Cressida,  IV.  ii.  72 : 
"  We  met  by  chance ;  you  did  not  find  me  here." 

8.  /  do  not? — We  must  understand  that  as  supplied:  "What 
should  I  do  that  I  do  not?"  The  ellipsis  of  the  relative  was  com- 
mon then,  as  it  is  now. 

16,  17.  the  sides  of  nature,  etc. : — So  in  Tzvelfth  Night,  II.  iv. 
95,  96:— 

"  There  is  no  woman's  sides 
Can  bide  the  beating  of  so  strong  a  passion." 

2)6.  in  our  brozus'  bent: — That  is,  in  the  bending  or  arching  of 
our  brows.  The  brow  is  that  part  of  the  face  which  expresses 
most  fully  the  mental  emotions.  So  in  King  John,  IV.  ii.  90: 
"  Why  do  you  bend  such  solemn  brows  on  me  ?  " 

57,  58.  Though  age,  etc. : — Cleopatra  here  apparently  means, 
"  Though  age  could  not  exempt  me  frgm  folly,  at  least  it  frees 
me  from  a  childish  and  ready  belief  of  every  assertion.  Is  it 
possible  that  Fulvia  is  dead?    I  cannot  believe  it." 

63, 64.  vials  .  .  .  water : — Alluding  to  the  lachrymatory 
vials  filled  with  tears,  which  the  Romans  placed 'in  the  tomb  of 
a  departed  friend. 

84,  Herculean  : — Antony  traced  his  descent  from  Anton,  a  son 
of  Hercules. 

91-93.  But  that,  etc. : — An  antithesis  is  intended  between  royalty 
and  subject.  The  meaning  is,  "  But  that  I  know  you  to  be  a 
queen,  and  that  your  royalty  holds  idleness  in  subjection  to  you, 
I  should  suppose  you,  from  this  idle  discourse,  to  be  the  very 
genius  of  idleness  itself," 

96,  97.  Since  my  becomings,  etc. : — That  which  would  seem  to 
become  me  most  is  hateful  to  me  when  it  is  not  acceptable  in 
your  sight. 

103,  104.  That  thou  residing  here,  etc. : — A  strikingly  similar 
thought  occurs  in  Sidney's  Arcadia: — 

*'  She  went,  they  staid ;  or,  rightly  for  to  say, 
She  staid  with  them,  they  went  in  thought  with  her." 

Scene  IV. 

12,  13.  His  faults,  etc. : — As  the  stars  or  spots  of  heaven  appear 
more  bright  and  prominent  from  the  darkness  of  the  night,  so 

174 


ANTONY  AND  CLEOPATRA  Notes 

the  faults  of  Antony  seem  enlarged  by  his  virtues,  which  give 
relief  to  his  faults,  and  make  them  show  out  more  prominently. 

25-28.  //  he  fill'd  .  .  .  call  on  him  for't: — If  Anthony  fol- 
lowed his  debaucheries  at  times  of  leisure  only,  I  should  leave 
him  to  be  punished  by  their  natural  consequences,  by  surfeits  and 
dry  bones. 

36-38.  Pompey  .  .  .  fear'd  Ccesar: — Those  whom  not  loz'e 
but  fear  made  adherents  to  Caesar  now  show  their  affection  for 
Pompey. 

SS-71.  Antony  .  .  .  lank'd  not.: — This  superb  speech  is 
based  upon  the  following  passage  in  Plutarch's  Life  of  Antoniiis, 
where  the  writer  is  relating  what  happened  after  the  death  of 
Julius  Caesar,  but  before  the  Triumvirate  was  formed :  "  Cicero, 
being  the  chiefest  man  of  authority  and  estimation  in  the  city, 
stirred  up  all  men  against  Antonius,  and  sent  Hircius  and  Pansa, 
then  Consuls,  to  drive  him  out  of  Italy.  These  two  Consuls,  to- 
gether with  Caesar,  who  also  had  an  army,  went  against  An- 
tonius, that  besieged  the  city  of  Modena,  and  there  overthrew  him 
in  battell ;  but  both  the  Consuls  were  slain  there.  Antonius, 
flying  upon  this  overthrow,  fell  into  great  misery  al  at  once;  but 
the  chiefest  want  of  al  other,  and  that  pinched  him  most,  was 
famine.  Howbeit,  he  was  of  such  a  strong  nature,  that  by  pa- 
tience he  would  overcome  any  adversity ,  and  the  heavier  fortune 
lay  upon  him,  the  more  constant  he  shewed  himselfe.  And 
it  was  a  wonderfull  example  to  the  souldiers  to  see  Antonius, 
that  was  brought  up  in  al  finenesse  and  superfluity,  so  easily  to 
drink  puddle  water,  and  to  eate  wild  fruits  and  roots.  And 
moreover  it  is  reported,  that  even  as  they  passed  the  Alpes  they 
did  eate  the  barkes  of  trees,  and  such  beasts  as  never  man  tasted 
of  their  flesh  before." 

Scene  V. 

4.  Mandragora: — Compare  Othello,  III.  iii.  330-333- — 
"  Not  poppy,  nor  mandragora. 
Nor  all  the  drowsy  syrups  of  the  world. 
Shall  ever  medicine  thee  to  that  sweet  sleep 
Which  thou  owedst  yesterday." 
So  too  in  Adlington's  translation  of  The  Golden  Ass  of  Apuleius : 
"  I  gave  him  no  poyson  but  a  doling  drink  of  mandragora,  which 
is  of  such  force,  that  it  will  cause  any  man  to  sleepe  as  though 
he  were  dead." 

175 


Notes  ANTONY  AND  CLEOPATRA 

2,6,  Z7-  i^ioi  great  medicine,  etc. : — Alluding,  perhaps,  to  the 
philosopher's  stone,  which,  by  its  touch,  was  said  to  convert  base 
metal  into  gold.  The  alchemists  called  the  matter,  whatever  it 
was,  by  which  they  performed  transmutation  a  medicine.  So 
Chapman  in  his  Shadow  of  Night,  1594:  "O  then,  thou  great 
elixir  of  all  treasures."  And  on  this  passage  he  has  the  follow- 
ing note:  "The  philosopher's  stone,  or  philosophica  medicina,  is 
called  the  great  elixir."  Walker  thinks  that  medicine  here  means 
physician,  and  so  the  word  was  sometimes  used. 

ACT  SECOND. 
Scene  I. 

4,  5.  Whiles  we  are  suitors,  etc.: — JJliilcs  for  while:  often  used 
so  by  Shakespeare.  The  passage  means,  while  we  are  praying, 
the  thing  for  which  we  pray  is  losing  its  value. 

26,27.  prorogue  his  honour  .  .  .  dulness: — "Delay  his 
sense  of  honour  from  exerting  itself  till  he  is  become  habitually 
sluggish."     Till  means  to,  according  to  an  ancient  usage. 

30,31.  since  he  went  .  .  .  travel: — Since  he  left  Egypt  time 
enough  has  elapsed  for  a  longer  journey. 

Scene  11. 

8.  /  would  not  shave 't: — I  would  meet  him  without  even  such 
a  show  of  respect. 

78.  told  him  of  myself: — Warburton,  followed  by  others,  ex- 
plains this  as  meaning,  "  I  told  him  the  condition  I  was  in  when 
he  had  his  last  audience."  Hudson's  explanation  (Harvard  ed.) 
is,  "  I  told  him  this  of  my  own  accord ;  or  volunteered  this  infor- 
mation about  myself." 

85,86.  The  honour,  etc.: — Mason  explains  that  the  force  of 
now  does  not  fall  with  talks,  but  with  is  sacred;  "the  point  of 
honour,  which  he  talks  on,  is  sacred  with  me  now,  however 
negligent,  or  untrue  to  my  oath,  I  may  have  been  then.''  He  ac- 
cordingly excuses  his  fault,  asks  pardon,  and  tenders  reparation. 

92-94.  mine  honesty,  etc.: — My  power  or  greatness  shall  not 
work  in  disregard  of  my  honesty. 

112  et  seq.  Caesar  means,  "  I  do  not  think  the  man  wrong,  but 
too  free  of  his  interposition ;  for  it  cannot  be  we  shall  remain  in 
friendship ;  yet  if  it  were  possible,  I  would  endeavour  it." 

176 


ANTONY  AND  CLEOPATRA  Notes 

123.  Were  well  deserved  of  rashness: — That  is,  you  might  be 
reproved  for  your  rashness,  and  would  well  deserve  it. 

157-159.  /  7nust  thank  him  only,  etc.: — I  must  barely  thank  him 
lest  I  be  thought  too  willing  to  forget  his  courtesies ;  and  then  I 
will  defy  him. 

173.  from  Egypt: — In  Julius  Ccesar  we  have  a  glimpse  of  the 
ennobling  developments  that  arose  when  sincere  Romans  stooped 
to  drink  from  the  well-springs  of  Greek  philosophy  and  science ; 
in  Antony  and  Cleopatra  we  behold  the  counter  influence  and 
contamination  from  too  close  proximity  to  Asia — for  Egypt  is  in 
nature  Asiatic — the  school  of  courtiers  and  of  all  the  arts  of 
servility  and  seduction  that  courts  give  harbour  and  protection  to. 

189,  190.  Enobarbus  is  made  to  say  that  Cleopatra  gained  An- 
tony's heart  on  the  river  Cydnus ;  but  it  appears  from  the  con- 
clusion of  his  own  description,  that  Antony  had  never  seen  her 
there ;  that  whilst  she  was  on  the  river,  Antony  was  sitting  alone, 
enthroned  in  the  market-place,  whistling  to  the  air,  all  the  peo- 
ple having  left  him  to  gaze  upon  her ;  and  that  when  she  landed 
he  sent  to  her  to  invite  her  to  supper. 

194  et  seq.  The  reader  may  be  pleased  to  compare  Dryden's 
description  with  that  of  Shakespeare : — 

"  Her  galley  down  the  silver  Cyndus  row'd, 
The  tackling,  silk,  the  streamers  wav'd  with  gold, 
The  gentle  winds  were  lodg'd  in  purple  sails : 
Her  nymphs,  like  Nereids,  round  her  couch  were  plac'd, 
Where  she,  another  seaborn  Venus,  lay. — 
She  lay,  and  leant  her  cheek  upon  her  hand, 
And  cast  a  look  so  languishingly  sweet, 
As  if  secure  of  all  beholders'  hearts, 
Neglecting  she  could  take  'em :  Boys,  like  Cupids, 
Stood  fanning  with  their  painted  wings  the  winds 
That  play'd  about  her  face :   But  if  she  smil'd, 
A  darting  glory  seem'd  to  blaze  abroad 
That  man's  desiring  eyes  were  never  wearied, 
But  hung  upon  the  object:  To  soft  flutes 
The  silver  oars  kept  time ;  and  while  they  play'd, 
The  hearing  gave  new  pleasure  to  the  sight. 
And  both  to  thought.    'Twas  heaven,  or  somewhat  more ; 
For  she  so  charm'd  all  hearts,  that  gazing  crowds 
Stood  panting  on  the  shore,  and  wanted  breath 
To  give  their  welcome  voice." 

177 


Notes  ANTONY  AND  CLEOPATRA 

239.  Her  infinite  variety : — Cleopatra,  as  appears  from  the 
tetradrachms  of  Antony,  was  no  Venus;  and  indeed  the  major- 
ity of  women  who  have  most  successfully  enslaved  the  hearts  of 
princes,  were  less  remarkable  for  personal  than  mental  attrac- 
tions. The  reign  of  insipid  beauty  is  seldom  lasting ;  but  perma- 
nent must  be  the  rule  of  a  woman  who  can  diversify  the  same- 
ness of  life  by  an  inexhausted  variety  of  accomplishments. 

Scene  III. 

3.  how  my  prayers : — The  same  construction  is  found  in 
Coriolanus,  I.  i.  217:  ''Shouting  their  emulation."  And  in  King 
Lear,  II.  ii.  82:  "Smile  you  m}^  speeches?  " 

Scene  V. 

3.  billiards: — Many  critics  have  called  this  an  anachronism,  as 
billiards,  they  say,  were  not  known  to  the  ancients.  But  Hud- 
son asks,  "How  do  they  know  this?  Late  researches,"  he  de- 
clares, "  have  shown  that  many  things  were  in  use  in  old  Egypt 
which,  afterwards  lost,  have  been  reinvented  in  modern  times. 
But  Shakespeare  did  not  know  this?  Doubtless  not;  but  then 
he  knew  that  by  using  a  term  familiar  to  his  audience  he  would 
lead  their  thoughts  to  what  has  always  followed  in  the  train  of 
luxury  and  refinement.  Suppose  he  had  been  so  learned,  and 
withal  such  a  slave  to  his  learning,  as  to  use  a  term  signifying 
some  game  which  the  English  people  never  had  heard  of.  Which 
were  the  greater  anachronism?" 

16-18.  when  your  diver,  etc.: — This  circumstance  is  from  Plu- 
tarch: Antony  had  fished  unsuccessfully  in  Cleopatra's  presence, 
and  she  laughed  at  him.  The  next  time,  therefore,  he  directed 
the  boatman  to  dive  under  water,  and  attach  a  fish  to  his 
hook.  The  queen  perceived  the  stratagem,  but  affecting  not  to 
notice  it,  congratulated  him  on  his  success.  Another  time,  how- 
ever, she  determined  to  laugh  at  him  once  more,  and  gave  orders 
to  her  own  people  to  get  the  start  of  his  divers,  and  put  some 
dried  salt  fish  on  his  hook. 

23.  Philippan: — The  battle  of  Philippi  being  the  greatest  action 
of  Antony's  life,  it  was  an  adroit  piece  of  flattery  to  name  his 
sword  from  it.  The  swords  of  the  heroes  of  romance  have  gen- 
erally pompous  names. 

178 


ANTONY  AND  CLEOPATRA  Notes 

115.  Cleopatra  is  now  talking  in  broken  sentences,  not  of  the 
messenger,  but  of  Antony. 

Scene  VI. 

1.3.  ghosted: — This  verb  is  used  by  Burton  in  the  preface  to  his 
Anatomy  of  Melancholy:  "What  madness  ghosts  this  old  man? 
but  what  madness  gJiosts  us  all? 

26,27.  At  land  indeed  thou  dost  exceed  me  in  possessions,  hav- 
ing added  to  thy  own  my  father's  house.  O'ercount  is  here  used 
equivocally,  and  Pompey  insinuates  that  Antony  not  only  out- 
numbered, but  had  overreached  him.  The  circumstance  of  An- 
tony's obtaining  the  house  of  Pompey's  father  the  Poet  had  from 
Plutarch. 

28, 29.  Since,  like  the  cuckoo,  that  seizes  the  nests  of  other 
birds,  you  have  invaded  a  house  which  you  could  not  build,  keep 
it  while  you  can. 

43-47.  though  I  lose,  etc.: — Clarke  here  comments:  "The  his- 
torical fact  of  Sextus  Pompey's  having  courteously  received  An- 
tony's mother  m  Sicily  when  she  fled  from  Italy  is  recorded  by 
Plutarch ;  but  the  touch  of  delicacy  in  Sentiment — declaring  that 
to  remind  or  reproach  another  with  a  benefit  conferred  is  to 
forfeit  the  merit  of  it — is  the  dramatist's  own  exquisite  addi- 
tion." 

55.  What  counts  .  .  .  my  face : — A  metaphor  from  making 
marks  or  lines  in  casting  accounts. 

71.  A  certain  queen  to  Ccrsar  in  a  mattress: — This  is  from  the 
margin  of  North's  Plutarch  (the  Life  of  Julius  Ccesar),  1579: 
"  Cleopatra  trussed  up  in  a  mattrasse,  and  so  brought  to  Caesar 
upon  Apollodorus'  backe."  Reference  is  here  made  to  this  pas- 
sage in  the  text.  He  goes  on  thus :  "  She,  only  taking  Apollo- 
dorus Sicilian  of  all  her  friends,  took  a  litle  bote,  and  went  away 
with  him  in  it  in  the  night,  and  came  and  landed  hard  by  the  foot 
of  the  castell.  Then,  having  no  other  meane  to  come  into  the 
court  without  being  knowne,  she  laid  herselfe  downe  upon  a  mat- 
trasse or  flock-bed,  which  Apollodorus  tied  and  bound  up  together 
like  a  bundle  with  a  great  leather  thong,  and  so  took  her  upon  his 
backe,  and  brought  her  thus  hampered  in  this  fardle  unto  Cassar 
in  the  castle  gate.  This  was  the  first  occasion,  it  is  reported,  that 
made  Caesar  to  love  her."  The  incident  is  dramatized  with  much 
spirit  in  Fletcher's  Fals^  One. 

179 


Notes  ANTONY  AND  CLEOPATRA 

Scene  VII. 

95-97-  The  third  part  .  .  .  reels : — Difficulties  have  been 
made  about  this  passage,  in  which  Singer  saw  none.  He  ex- 
plained it  thus :  "  Menas  says,  '  The  third  part  of  the  world  is 
drunk  (meaning  Lepidus,  one  of  the  triumvirs),  would  it  were 
all  so,  that  it  might  go  on  wheels,'  that  is,  turn  round  or  change. 
To  which  Enobarbus  replies,  '  Drink  thou ;  increase  the  reels,' 
that  is,  increase  its  giddy  course." 

ii8.  pink  eyne: — The  following  is  in  Horman's  Vulgaria,  1519: 
"  Some  have  mighty  yies  and  some  be  pinkyied.  Quidam  per- 
grandis  sunt  luminibus,  quidam  peti."  The  flower  called  a  pink 
is  in  French  ooillet,  or  little  eye.  To  pink  and  wink  is  to  contract 
the  eyes  and  peep  out  of  the  lids.  Hence  pinky  for  tipsy,  from 
the  peculiar  expression  of  the  eyes  of  persons  in  liquor.  The 
epithet  is  therefore  well  appropriated  to  the  god  of  wine. 

128,129.  the  wild  disguise  hath  almost  antick'd  us  all: — Has 
almost  made  us  antics  or  buffoons.  Upon  this  scene  Clarke  ob- 
serves :  "  The  discriminative  characterization  developed  in  each 
of  the  revellers — Lepidus's  fatuity  and  solemn  dulness  flounder- 
ing beneath  the  overpowering  effect  of  the  repeated  healths  or 
toasts  with  which  he  is  plied ;  Octavius's  reluctance  at  the  sub- 
version of  his  cold  equanimity  by  the  riot  of  the  carousal  and 
the  effect  of  the  wine ;  Enobarbus's  mad  spirits — yet  he  even  at 
length  giving  token  of  being  '  weaker  than  the  wine  ' ;  Pompey's 
capital  bit  of  maudlin  ('  O  Antony,  you  have  my  father's  house — 
But,  what?  we  are  friends'),  half  lingering  resentment,  half 
drunken  magnanimity  of  forgiveness ;  the  untouched  strength  of 
the  seasoned  Mark  Antony,  able  to  bear  any  amount  of  drained 
cups ;  together  with  the  rich  gusto  and  classical  grape-crowned 
animation  of  the  whole  scene,  combine  to  render  this  one  of  the 
most  magnificently  painted  orgy-descriptions  ever  set  down  on 
paper.    It  glows  before  our  eyes  like  a  Rubens  canvas." 

ACT  THIRD.       . 
Scene  I. 

\Entcr  Ventidius.]  How  conscientiously  Shakespeare  kept  in 
view  the  resolve  to  indicate  the  proceeding  metamorphosis  of  the 
Roman  state  and  Roman  society,  at  the  same  time  that  he  set 
forth  the  characters  and  fortunes  of  the  triumvir  and  his  para- 

180 


ANTONY  AND  CLEOPATRA  Notes 

moiir,  is  well  seen  in  the  short  Parthian  entrance  of  Ventidius. 
He  has  embodied  the  biography  of  Antony  by  Plutarch  from  the 
point  at  which  he  takes  it  up  with  as  much  skill  as  comprehen- 
siveness. 

I.  Struck  alludes  to  darting.  Thou,  whose  darts  have  often 
struck  others,  art  struck  now  thyself. 

27-29.  Thou  hast,  Ventidius,  etc.: — Warburton  interprets  thus: 
" '  Thou  hast  that,  Ventidius,  which  if  thou  didst  want,  there 
would  be  no  distinction  between  thee  and  thy  sword.  You  would 
be  both  equally  cutting  and  senseless.'  This  was  wisdom,  or 
knowledge  of  the  world.  Ventidius  had  told  him  why  he  did  not 
pursue  his  advantages ;  and  his  friend,  by  this  compliment,  ac- 
knowledges them  to  be  of  weight." 

Scene  II. 

40.  Octavia  is  to  sail  with  Antony  from  Rome  to  Athens,  and 
her  brother  wishes  that  the  elements — winds  and  seas — may  be 
kind  to  her ;  in  other  words,  that  she  may  have  a  prosperous  voy- 
age. Johnson  and  others,  however,  have  explained :  "  May  the 
different  elements  of  the  body  be  in  such  proportion  and  har- 
mony as  to  keep  you  cheerful." 

52.  were  he  a  Jiorse : — A  horse  is  said  to  have  a  cloud  in  his 
face,  when  he  has  a  dark-coloured  spot  in  his  forehead  between 
the  eyes.  This  gives  him  a  sour  look,  and  being  supposed  to  in- 
dicate an  ill  temper,  is  of  course  looked  upon  as  a  great  blemish. 
Burton  has  applied  the  phrase  to  the  look  of  a  female :  "  Every 
lover  admires  his  mistress,  though  she  be  very  deformed  of  her- 
selfe — thin,  leane,  chitty-face,  have  clouds  in  her  face,  be 
crooked,"  etc. 

59.  wept: — The  old  copies  have  zveepe.  Theobald's  reading, 
here  given,  has  been  followed  by  most  recent  editors.  Steevens 
tried  to  give  a  meaning  to  the  old  reading :  "  Believe  that  he  wept 
over  such  an  event,  till  you  see  me  weeping  on  the  same  occa- 
sion, when  I  shall  be  obliged  to  you  for  putting  such  a  construc- 
tion on  my  tears,  which,  in  reality  (like  his),  will  be  tears  of  joy." 

Scene  III. 

32-34.  is't  long  on  round,  etc.: — This  is  from  the  old  writers 
on  physiognomy.    So  in  Hill's  Pleasant  History,  1613 :  "The  head 

181 


Notes  ANTONY  AND  CLEOPATRA 

very  round  to  be  forgetful  and  foolish."  Again :  "  The  head 
long,  to  be  prudent  and  wary."    "  A  low  forehead,"  etc.,  p.  218. 

35,  36.  her  forehead  as  low  as  she  would  wish  it : — "As  one 
would  wish  it ''  was  a  cant  phrase  common  in  Shakespeare's  day. 
The  perverted  fancy  of  our  Elizabethan  ancestors  for  a  high,  that 
is,  bald  forehead,  is  often  shown  in  the  Poet  and  his  contem- 
poraries. So  in  the  Two  Gentlemen  of  Verona,  IV,  iv.  198:  "Ay. 
but  her  forehead  's  lozv." 

44.  110  such  thing: — That  is,  nothing  very  remarkable — a  col- 
loquial phrase. 

Scene  IV. 

10.  from  his  teeth : — A  common  expression.  So  Dryden  in  his 
Wild  Gallant:  "I  am  confident  she  is  only  angry  from  the  teeth 
outward."  And  Fuller,  in  his  Holie  Warre:  "This  bad  breath, 
though  it  came  but  from  the  teeth  of  some,  yet  proceeded  from 
the  corrupt  lungs  of  others."  And  in  Withal's  Dictionarie  for 
Children,  1616:  *^  Lingua  amicus:  A  friend  from  the  teeth  out- 
ward." 

10-16.  The  situation  and  sentiments  of  Octavia  resemble  those 
of  Lady  Blanch  in  King  John,  III.  i. 

Scene  V. 

[Enter  Enobarbus.]  The  dramatic  value  of  the  character  of 
Enobarbus,  as  Shakespeare  has  developed  it,  cannot  be  over-esti- 
mated in  such  a  play  with  such  a  theme.  Besides  a  remonstrance 
against  Cleopatra's  presence  in  the  war,  Plutarch  furnishes  little 
more  towards  the  character  than  this :  "  Furthermore,  he  dealt 
very  friendly  and  courteously  with  Domitius,  and  against  Cleo- 
patra's mind.  For  he  being  sick  of  an  ague  when  he  went  and 
took  a  little  boat  to  go  unto  Caesar's  camp,  Antonius  was  very 
sorry  for  it,  but  yet  he  sent  after  him  all  his  carriage  train  and 
men ;  and  the  said  Domitius,  as  though  he  gave  him  to  under- 
stand that  he  repented  of  his  open  treason,  died  immediately 
after."  In  the  play,  Domitius,  while  he  is  largely  participant  in 
riot  and  irregularity,  and  largely  accessory  to  hasty  imprudence, 
and  yields  to  none  in  appreciation  of  the  seductive  charm  of 
Cleopatra,  is  still  in  perfect  contrast  to  Antony  by  his  freedom 
from  infatuation.  In  some  respects  he  is  like  Cleopatra  too,  who 
looks  on  at  the  ruin  she  has  made,  and  mingles  pity  with  her 
return  for  the  passion  that  in  itself  is  too  degenerate  to  be  called 

182 


ANTONY  AND  CLEOPATRA  Notes 

love  immingled.  It  is  when  Antony  is  gradually  overtasking  the 
sympathies  of  the  spectator,  that  they  are  recalled  by  his  proofs 
of  nobility  of  nature  on  the  desertion  of  Domitius,  and  the  ex- 
ampler  holds  us  truer  to  the  end. 

14,  no  more: — Of  course  this  phrase  does  not  signify  no 
longer,  but  has  the  same  meaning  as  and  no  more,  or  that  is  all: 
"  Thou  hast  now  a  pair  of  chaps  and  nothing  more.  Caesar  and 
Antony  will  make  war  on  each  other,  though  they  have  the  world 
to  prey  on  between  them." 

23.  Naught  has  here  the  same  meaning  as  naughty  or  had. 

Scene  VI. 

3.  Tribunal  here  is  a  stage  or  platform,  ?i  ■:  in  the  Uatin  usage. 
This  scene  is  closely  copied  from  North's  Plutarch. 

13.  The  old  copy  has  hither  instead  of  lie  there,  and  King  in- 
stead of  Kings.     Corrected  by  Steevens. 

Scene  VII. 

6,  7.  //  not  denounced,  etc.: — In  the  passage  of  Plutarch  which 
supplied  the  basis  of  this  scene,  we  have  the  following:  "Now, 
after  that  Csesar  had  made  sufficient  preparation,  he  proclaimed 
open  warre  against  Cleopatra,  and  made  the  people  to  abolish  the 
power  and  empire  of  Antonius,  because  he  had  before  given  it 
up  unto  a  woman.  And  Csesar  said,  furthermore,  that  Antonius 
was  not  master  of  himselfe,  but  Cleopatra  had  brought  him  be- 
side himselfe  by  her  charmes  and  amorous  poysons ;  and  that 
they  that  should  make  warre  with  them  should  be  Mardian  the 
eunuch,  Photinus,  and  Iras  (a  woman  of  Cleopatraes  bed-cham- 
ber, that  frizeled  her  haire  and  dressed  her  head)  and  Char- 
mian ;  the  which  were  those  that  ruled  all  the  affaires  of  An- 
tonius empire." 

60.  Thetis : — Antony  may  address  Cleopatra  by  the  name  of  this 
sea-nymph  because  she  had  just  promised  him  assistance  in  his 
naval  expedition;  or  perhaps  in  allusion  to  her  voyage  down  the 
Cydnus,  when  she  appeared  like  Thetis  surrounded  by  the 
Nereids. 

Scene  VIII. 

In  connection  with  these  short  scenes,  which  some  critics  regard 
as  injuring  the  Poet's  work  with  too  many  details  and  changes 

183 


Notes  ANTONY  AND  CLEOPATRA 

in  the  action,  it  may  be  interesting  to  read  this  finely  expressed 
judgement  of  Lloyd  upon  the  structural  quality  of  the  drama: 
"  The  play  throughout  evinces  the  master  hand  of  Shakespeare — 
It  reads  with  unchecked  freshness,  as  though  it  flowed  with 
quickest  facility  from  his  pen,  at  the  same  time  that  every  line  is 
charged  with  the  maturest  autumn  of  his  ripened  mind.  Luxu- 
riant as  the  execution  is,  it  is  so  governed  by  appropriateness, 
that  I  doubt  whether  any  of  Shakespeare's  plays  can  be  more 
justly  entitled  correct,  in  the  technical  sense,  than  Antony  and 
Cleopatra — whether  from  any  other  a  single  line  could  less  easily 
be  struck  out  without  apparent  injury  and  loss."  And  Brandes 
has  given  us  this  observation :  "  Assuming  that  it  was  Shake- 
speare's design  in  Antony  and  Cleopatra,  as  in  King  Lear,  to 
evoke  the  conception  of  a  world-catastrophe,  we  see  that  he 
could  not  in  this  play,  as  in  Macbeth  or  Othello,  focus  the  entire 
action  around  the  leading  characters  alone.  He  could  not  even 
make  the  other  characters  completely  subordinate  to  them ;  that 
would  have  rendered  it  impossible  for  him  to  give  the  impression 
of  majestic  breadth,  of  an  action  embracing  half  of  the  then  known 
world,  which  he  wanted  for  the  sake  of  the  concluding  effect." 

Scene  XI. 

35,36.  he  at  Philippi  .  .  .  dancer: — The  meaning  appears 
to  be,  Caesar  never  offered  to  draw  his  sword,  but  kept  it  in 
the  scabbard,  like  one  who  dances  with  a  sword  on,  which  was 
formerly  the  custom  in  England.  It  is  alluded  to  in  All's  Well 
that  Ends  Well,  11.  i.  ^2,  t,^'  "  No  sword  worn,  but  one  to  dance 
with !  " 

52-54.  How  I  convey  my  shame,  etc. : — How,  by  looking  another 
way,  I  withdraw  my  ignominy  from  your  sight. 

Scene  XIII. 

47.  [Enter  Thyreus.]  Cleopatra's  entertainment  of  Thyreus  is 
her  most  salient  insincerity,  and  it  is  hard  to  decide  how  far  this 
might  not  have  proceeded.  It  was  a  yielding  to  temptation,  if  it 
was  anything — the  temptation  of  the  ruling  passion  to  fascinate 
and  influence  the  powerful.  Distinct  plan  is  not  to  be  considered 
in  the  matter. 

55.  he  is  Caesar : — So  the  second  Folio.      The  first  Folio  has, 

184 


ANTONY  AND  CLEOPATRA  Notes 

''  than  he  is  C?esar's,"  which  brings  obscurity.  "Wg  Have  a  clear 
meaning  in  the  present  reading :  "  Caesar  entreats,  that  at  the 
same  time  you  consider  your  desperate  fortunes,  you  would  con- 
sider that  he  is  Csesar:  that  is,  generous  and  forgiving,  able  and 
willing  to  restore  them." 

127.  the  hill  of  Basan: — This  is  an  allusion  to  the  Psalms: 
"  An  high  hill  as  the  hill  of  Basan."  The  idea  of  the  horned  herd 
below  is  also  from  the  same  source :  "  Many  oxen  are  come  about 
me :  fat  bulls  of  Basan  close  me  in  on  every  side."  It  is  not  easy^ 
to  surmise  how  Shakespeare  came  to  have  such  allusions  in  g 
play  like  this. 

162.  CcEsarion  : — Cleopatra's  son  by  Julius  Caesar. 

167.  /  am  satisfied : — Antony  surprises  Cleopatra  unmistakably 
encouraging  the  messenger  of  Csesar,  and  vents  his  rage  upon  the 
messenger  by  scourging,  and  his  anger  in  high  reproaches  and 
complaints;  and  then,  as  soon  as  the  queen  can  gain  a  hearing 
for  honeyed  words  and  high  protestation,  he  is  soothed  and  satis- 
fied at  once,  and  turns  again  to  his  old  revelry  that  she  had 
taught  him  and  so  often  shared. 

183.  Feast  days,  in  the  colleges  of  either  university,  are  called 
gaudy  days,  as  they  were  formerly  in  the  inns  of  court.  "  From 
gaudiitni.'  jays  Blount,  "because,  to  sa3^  truth,  they  are  days  of 
joy,  as  bringing  good  cheer  :o  the  -lungry  students." 

ACT   FOURTH. 
Scene  I. 

5.  I  have  many  other  zvays  to  die : — Hanmer,  conforming  the 
text  to  the  story  of  Plutarch,  read,  "  He  hath  many  other  ways," 
etc.  This  is  certainly  the  sense  of  Plutarch,  and  given  so  in 
modern  translations ;  but  Shakespeare  perhaps  was  misled  by  the 
ambiguity  of  the  old  one :  "  Antonius  sent  again  to  challenge 
Caesar  to  fight  him :  Csesar  answered,  that  he  had  many  other 
ways  to  die  than  so.'' 

Scene  II. 

8.  Take  all : — Let  the  survivor  take  all ;  no  composition  ;  victory 
or  death.  So  in  King  Lear,  III.  i.  15 :  "  And  bids  what  will  take 
all." 

26,  27.  "  Or  if  you  see  me  more,  you  will  see  me  a  mangled 

185 


Notes  ANTONY  AND  CLEOPATRA 

shadow,  only  the  external  form  of  what  I  was."     The  thought 
is,  as  usual,  taken  from  North's  Plutarch. 

35.  onion-cycd  : — We  have  a  similar  allusion  in  I.  ii,  172. 
38.  Grace  grozv  where  those  drops  fall: — So  in  Richard  II.,  III. 
iv,  104,  105  : — 

"  Here  did  she  fall  a  tear ;  here  in  this  place 
I  '11  set  a  bank  of  rue,  sour  herb  of  grace." 

Scene  III. 

23.  Let 's  see  how  it  will  give  off : — This  is  from  Plutarch : 
"  Within  a  little  of  midnight,  when  all  the  citie  was  quiet,  full 
of  feare,  and  sorrowe,  thinking  what  would  be  the  issue  and  end 
of  this  warre,  it  is  saide  that  sodainely  they  heard  a  marvellous 
sweete  harmonic  of  sundry  sortes  of  instruments  of  musicke, 
with  the  cry  of  a  multitude  of  people  as  they  had  beene  dauncinge, 
and  had  sung  as  they  use  in  Bacchus  feastes,  with  movings  and 
turnings  after  the  manner  of  the  satyres :  and  it  seemed  that  this 
daunce  went  through  the  city  unto  the  gate  that  opened  to  the 
enemies,  and  that  all  the  troupe  that  made  this  noise  they  heard 
went  out  of  the  city  at  that  gate.  Now  such  as  in  reason  sought 
the  interpretacion  of  this  wonder,  thought  that  it  was  the  god 
unto  whom  Antonius  bare  singular  devotion  to  counterfeate  and 
resemble  him,  that  did  forsake  them." 

3cene  V. 

I.  This  and  some  subsequent  speeches  are  given  to  Eros  in  the 
Folios.  Theobald  assigned  them  to  the  soldier,  at  the  suggestion 
of  Thirlby. 

Scene  VI. 

6,  7.  the  three-nook'd  world,  etc. : — The  meaning  is,  that  the 
three-cornered  world  shall  then  enjoy  the  blessings  of  peace  un- 
disturbed.    So  in  King  John,  V.  vii.  116,  117: — 

"  Come  the  three  corners  of  the  world  in  arms, 
And  we  shall  shock  them." 
And  for  a  like  allusion  to  the  olive  see  2  Henry  IV.,  IV.  iv.  87: 
"  But  Peace  puts  forth  her  olive  every  where."     What  is  the  ex- 
planation of  a  three-cornered  world,  according  to  the  notions  of 
our  ancestors  ?     It  has  never  been  satisfactorily  given. 

m 


ANTONY  AND  CLEOPATRA  Notes 

Scene  VIII. 

22.  Get  goal  for  goal  of.  youth  : — At  all  plays  of  barriers  the 
boundary  is  called  a  goal.  To  zvin  a  goal  is  to  be  superior  in  a 
contest  of  activity. 

Scene  X. 

3,  4.  As  Brandes  remarks,  "  Antony  fights  his  last  battle  with 
Macbeth's  Berserk  fury,  facing  with  savage  bravery  what  he 
knows  to  be  invincibly  superior  force." 

7.  They  have  put  forth  the  haven: — The  gap  in  this  line  has 
been  filled  in  various  ways  by  different  editors :  Rowe,  further 
on;  Capell.  hie  we  on;  Malone,  let's  seek  a  spot;  Dyce.  forward, 
iiozv  (adopted  by  Rolfe)  ;  White,  ascend  zve  then  ;  Hudson,  mount 
we,  then.  It  should  seem  that  any  of  these  additions  might 
answer  well  enough  for  the  ordinary  reader,  whom  the  present 
text,  perhaps  quite  as  wisely,  leaves  to  his  own  ingenuity. 

Scene  XII. 

27.  Whose  bosom  was  my  crozvnet: — "That  which  I  looked  to 
as  the  reward  or  crown  of  my  endeavours."  The  allusion  is  to 
tinis  coronal  opus. 

28.  Like  a  right  gipsy: — Three  times  in  Shakespeare  (Romeo 
and  Juliet,  II.  iv.,  and  Antony  and  Cleopatra,  I.  i.  and  IV.  xii.) 
Cleopatra  is  slightingly  called  gipsy,  probably  from  the  word's 
resemblance  in  sound  to  Egyptian.  But  there  was  a  certain  sig- 
nificance in  this  word-play;  for  the  high-mindedness  of  the  prin- 
cess and  the  fickleness  of  the  gipsy  were  mysteriously  combined 
in  her  nature. 

Scene  XIV. 

8.  vesper's  pageants: — The  beauty  both  of  the  expression  and 
the  allusion  in  this  theatrical  figure  is  lost,  unless  we  recollect 
the  frequency  and  the  nature  of  these  shows  in  Shakespeare's 
age.  The  following  apposite  passage  from  a  sermon,  by  Bishop 
Hall,  is  cited  by  Boswell :  "I  feare  some  of  you  are  like  the 
pageants  of  your  great  solemnities,  wherein  there  is  a  show  of  a 
solid  body,  whether  of  a  lyon,  or  elephant,  or  unicorne ;  but  if 
they  be   curiously   look'd   into,   there   is   nothing   but   cloth,   and 

187 


Notes  ANTONY  AND  CLEOPATRA 


sticks,  and  ayre."  "This  ic,  without  dotib':/'  sayc  Hazlitt,  "ono 
of  the  finest  pieces  of  poetry  in  Shakespeare.  The  cplendour  oi 
i^he  imagery,  the  semblance  of  reality,  the  lofty  range  of  pic- 
,Liresque  objects  hanging  over  the  world,  their  evanescent  na- 
ture, the  total  uncertainty  of  v/hat  is  left  behind — arc  just  like 
the  mouldering  schemes  of  human  greatness.' 

10.  The  fleeting  away  of  the  clouds  destroys  the  oicture. 

19.  To  pack  the  cards  was  often  used  metaphorically  for  con- 
triving together  to  deceive  another.  The  Poet  means  that 
Cleopatra,  by  collusion,  played  the  great  game  they  were  engaged 
in  falsely,  so  as  to  sacrifice  Antony's  fame  to  that  of  his  enemy. 

53.  Dido  and  her  ^neas: — it  has  been  remarked  that  Dido  and 
^Eneas  were  not  likely  to  be  found  thus  lovingly  associated. 
Either  the  Poet  forgot  Virgil's  celebrated  description  in  the  sixth 
iook  of  the  ^^neid,  or  confounded  ^neas  with  Sich:eu3  inad- 
vertently. 

60.  Less  noble  mind  must  be  understood  as  if  written  lesc  noble- 
minded,  as  some  editors  have  it.  Plutarch  gives  the  passage  thus : 
"  O  Cleopatra,  it  grieveth  me  not  that  I  have  lost  thy  company, 
for  I  will  not  be  long  from  thee;  but  I  am  sory  that,  navinj 
bene  so  great  a  captaine  and  emperor,  I  am  indeed  condemned 
to  be  judged  of  lesse  courage  and  noble  mind  then  a  woman." 

76,  77.  branded,  etc. : — Branded  with  b_aseness  him  who  tin. 
followed. 

Scene  XV. 

9-11.  It  should  be  remembered  that,  according  to  the  old  phi- 
losophy, the  sun  was  accounted  a  planet,  and  thought  to  be 
whirled  round  the  earth  by  the  motion  of  a  solid  sphere  in  which 
it  was  fixed.  Supposing  this  consumed,  the  sun  must  wander  in 
endless  space,  and  the  earth  be  involved  in  endless  night. 

62.  [Antony  dies.]  When  Antony  and  Cleopatra  perished  with 
each  other,  she  was  in  her  thirty-ninth,  he  in  his  fifty-fourth  year. 
She  was  thus  almost  uirec  "imec  as  old  as  Tuliet,  he  more  than 
double  the  age  of  Romeo. 

74.  Chares: — This  word — now  spelt  and  pronounced  chores — 
is  used  by  Shakespeare  only  here  and  in  V.  ii.  231  of  this  play. 
It  was  long  ago  used,  as  it  still  is  provincially,  to  denote  odd 
jobs  of  work,  especially  daily  tasks  in  domestic  or  farm  service, 
and  the  like.  So  ig  Heywcod's  Brazen  Age,  1613 :  "She,  like 
a  good  wife,  ic  t;er.chine  hor  servantc  sundry  chares." 


ANTONY  AND  CLEOPATRA  Notes 

ACT  FIFTH. 
Scene  I. 

5.  Appear  thus: — That  is.  with  a  drawn  and  bloody  sword  in 
thy  hand. 

47,48.  should  divide,  etc.: — That  is,  should  have  made  us,  in 
our  equality  of  fortune,  disagree  to  a  pitch  like  this,  that  one  of 
us  must  die. 

52.  A  poor  Egyptian  yet:—Th2Lt  is,  yet  an  Egyptian,  or  subject 
of  the  Queen  of  Egypt,  though  soon  to  become  a  subject  of  Rome. 

Scene  II. 

4-8.  and  it  is  great,  etc. : — The  meaning  appears  to  be  that  vol- 
untary death  is  an  act  which  bolts  up  change ;  it  produces  a  state 
which  has  no  longer  need  of  gross  terrene  sustenance,  in  the  use 
of  which  Caesar  and  the  beggar  are  on  a  level.  "Nurse,"  says 
Hudson,  "  appears  to  be  used  here  for  nourishment.  Cleopatra  is 
speaking  contemptuously  of  this  life,  as  if  anything  that  depends 
upon  such  coarse  vulgar  feeding  were  not  worth  keeping."  Hud- 
son, of  course,  reads  dung  instead  of  dug.  On  this  alternative 
White,  who  also  retains  dung,  remarks :  "  Warburton  r^ad  '  the 
dug.'  The  correction  is  of  the  obvious  sort,  and  is  indicated  by 
'  palates '  and  '  nurse,'  as  well  as  by  the  similarity  in  form  between 
the  original  and  the  substituted  word.  But  as  I  am  unable  to  dis- 
cern what  is  the  dug  which  is  the  '  beggar's  nurse  and  Caesar's,'  and 
as  the  word  in  the  text  is  expressive  of  the  speaker's  bitter  disgust 
of  life,  I  make  no  change." 

29,  30.  "  In  yielding  to  him  I  only  give  him  that  honour  which 
he  himself  has  achieved." 

35.  [Here  Proculeius,  etc.]  "  This  stage  direction,"  says  White, 
"  is  not  in  the  Folio,  but  is  formed  upon  the  corresponding  passage 
in  North's  Plutarch.  The  scene  is  one  which  it  is  almost  impossi- 
ble to  play  upon  a  modern  stage ;  but  in  Shakespeare's  day,  when 
they  could  '  make  believe '  as  hard  as  Mr.  Richard  Swiveller's 
little  Marchioness  did  over  her  orange  peel  and  water,  there  was 
no  such  difficulty."  "  Proculeius,"  says  Plutarch,  "  came  to  the 
gates  that  were  very  thicke  and  strong,  and  surely  barred ;  but 
yet  there  were  some  cranews  through  the  which  her  voyce  might 
be   heard,   and   so   they   without   understood   that    Cleopatra    de- 

189 


Notes  ANTONY  AND  CLEOPATRA 

maunded  the  kingdome  of  Egypt  for  her  sonnes ;  and  that  Procu- 
leius  aunswered  her,  that  she  should  be  of  good  cheere,  and  not  be 
afifrayed  to  refer  all  unto  Caesar,  After  he  had  viewed  the  place  very 
well,  he  came  and  reported  her  aunswere  unto  Caesar :  who  imme- 
diately sent  Callus  to  speak  once  againe  with  her,  and  bad  him 
purposely  hold  her  with  talk,  wdiilst  Proculeius  did  set  up  a  ladder 
against  that  high  windows,  by  the  w^hich  Antonius  was  tressed  up, 
and  came  down  into  the  monument  with  two  of  his  men,  hard  by 
the  gate,  where  Cleopatra  stood  to  hear  what  Callus  said  unto  her. 
One  of  her  women  shrieked  out,  O  poore  Cleopatra,  thou  art  ta- 
ken. Then  when  she  sawe  Proculeius  behind  her,  as  she  came 
from  the  gate,  she  thought  to  have  stabbed  herself  with  a  short 
dagger  she  wore  of  purpose  by  her  side.  But  Proculeius  came 
sodainly  upon  her,  and  taking  her  by  both  hands,  sayd  unto  her, 
Cleopatra,  first  thou  shalt  doe  thyselfe  greate  wrong,  and  secondly 
unto  Caesar,  to  deprive  him  of  the  occasion  and  opportunitie 
openlie  to  shew  his  bounty  and  mercie,  and  to  give  his  enemies 
cause  to  accuse  the  most  courteous  and  noble  prince  that  ever  was, 
and  to  appeach  him  as  though  he  were  a  cruel  and  mercilesse  man 
that  were  not  to  be  trusted.  So  even  as  he  spake  the  word  he 
tooke  her  dagger  from  her,  and  shooke  her  clothes  for  fear  of  any 
poison  hid  aboute  her." 

50.  Once  is  used  by  Shakespeare  for  one  time,  some  time,  any 
time.  We  may  take  the  meaning  of  this  line,  which  Singer  placed 
in  parenthesis,  to  be,  "  If  idle  talk  about  my  purposes  be  necessary 
for  the  nonce."  Johnson  has  shown  that  zvill  be  is  often  used  in 
conversation  without  relation  to  the  future. 

174.  My  chance: — Most  editors  have  retained  this  reading,  the 
meaning  of  which  can  only  be  that  her  native  fire,  which  is  now 
so  overlaid  with  the  ashes  of  misfortune  as  to  seem  extinguished, 
will  flame  up  through  them.  Chaucer  has  a  similar  image :  "  Yet 
in  our  ashen  cold  is  fire  yreken."  And  in  Gray's  Elegy :  "  E'en 
in  our  ashes  live  their  wonted  fires."  But  Hudson  (Harvard 
ed.)  in  following  Dr.  Ingleby  and  substituting  glance  for  chance 
persuasively  argues  that  her  native  fire  might  flame  up  through 
the  ashes  of  her  former  hearty  and  burn  in  her  eyes. 

185.  Make  not  your  thoughts  your  prisons: — Be  not  a  prisoner 
in  imagination. 

229.  Sirrah  was  not  anciently  an  appellation  either  reproachful 
or  injurious;  being  applied,  with  a  sort  of  playful  kindness,  to 
children,  friends,  and  servants,  and,  what  may  seem  more  extra- 
ordinary, as  in  the  present  case,  to  women. 

190 


ANTONY  AND  CLEOPATRA  Notes 

240.  Fleeting  is  another  form  of  flitting ;  is  changeable,  incon- 
stant. 

243.  Worm  was  commonly  used  for  serpent.  The  word  is  pure 
Saxon.  We  have  it  still  in  the  hlindzvorm  and  slowworm.  Shake- 
speare uses  it  several  times.  The  notion  of  a  serpent  that  caused 
death  without  pain  was  an  ancient  fable,  and  is  here  adopted  with 
propriety.  The  worm  of  Nile  was  the  asp  of  the  ancients,  which 
is  wholly  unknown  to  us. 

256.  257.  he  that  zvill  believe,  etc. : — Warburton  observes  that 
"Shakespeare's  clowns  are  always  jokers,  and  deal  in  sly  satire": 
but  he  would  have  all  and  half  change  places.  The  confusion  was 
probably  designed  to  heighten  the  humour  of  the  clown's  speech. 

289.  /  am  fire  and  air: — According  to  the  old  philosophy  there 
were  four  elements,  fire,  air,  earth,  and  water,  of  which  all 
things  were  composed.  In  Henry  V.,  III.  vii.  22-24,  the  Dauphin 
describes  his  horse  thus:  "He  is  pure  air  and  fire;  and  the  dull 
elements  of  earth  and  water  never  appear  in  him." 

293.  aspic : — Iras  must  be  supposed  to  have  applied  an  asp  to 
her  arm  while  her  mistress  was  settling  her  dress,  to  account  for 
her  falling  so  soon. 

313.  [Dies.]  Notwithstanding  that  the  folly  of  Antony  and  the 
falsehood  of  the  Egyptian  Queen  are  made  most  manifest,  the 
modified  triumph  of  the  piece  is  theirs,  and  Caesar  and  his  soldiers 
are  left  duped  and  defied  and  disappointed. 

319.  and  then  play: — Charmian  perhaps  remembers  the  words 
of  her  mistress  (231,  232)  :  "  When  thou  hast  done  this  chare  I  '11 
give  thee  leave  to  play  till  doomsday." 

352-3SS-  ^^ost  probable  .  .  .  die: — The  following,  somewhat 
condensed,  is  from  the  account  given  by  Plutarch :  "  Cleopatra 
was  very  carefull  in  gathering  all  sorts  of  poisons  together,  to 
destroy  men.  Now,  to  make  proofe  of  those  poisons  which  made 
men  die  with  least  paine,  she  tried  it  upon  condemned  men  in 
prison.  She  afterwards  went  about  to  prove  the  stinging  of 
snakes  and  adders,  and  made  some  to  be  applyed  unto  men  in  her 
sight.  So,  when  she  had  daily  made  diverse  and  sundry  proofes, 
she  found  none  of  them  all  so  fit  as  the  biting  of  an  aspicke ;  the 
which  causeth  only  a  heavinesse  of  the  head,  without  swouning 
or  complaining,  and  bringeth  also  a  great  desire  to  sleepe,  with  a 
sweate  in  the  face ;  and  so  by  litle  and  litle  taketh  away  the  senses 
and  vitall  powers,  no  living  creature  perceiving  that  the  patients 
feel  any  paine." 


191 


AKTONY  AND  CLEOPATRA 


Questions  on 
Antony  acnd  Cleopatra. 

1.  What  is  the  date  of  composition?  To  what  period  of  Shake- 
speare's development  does  it  belong,  and  before  and  after  what 
plays  does  it  come? 

2.  Where  did  Shakespeare  derive  the  materials  of  his  plot? 
What  elements  of  the  play  are  due  to  the  dramatist's  own  genius? 
What  other  plays  have  been  written  on  the  same  subject? 

3.  How  much  time  is  covered  by  the  action?  What  historic 
period  is  embraced  in  the  limits  of  the  action? 

ACT  FIRST. 

4.  How  is  the  plot  subsumed  in  the  opening  speech?  Is  there 
disregard  of  convention  in  bringing  the  two  protagonists  at  once 
upon  the  stage? 

5.  What  is  the  passion  at  once  introduced  ?  What  other  motive 
is  it  quickly  brought  in  conflict  with?  Who  is  Fulvia?  How 
does  Antony  receive  Cleopatra's  references  to  her? 

6.  What  political  relation  did  Egypt  bear  to  Rome  at  this  time? 
Who  was  emperor  at  Rome?  What  was  his  age;  Antony's 
previous  relations  with  him? 

7.  What  was  Antony's  mission  in  the  East?  Officially  what 
position  did  Antony  hold  in  the  Roman  state?  What  is  the  nature 
of  his  utterance  in  Sc.  ii.,  97-100? 

8.  Who  was  Labienus?  What  is  the  recital  of  his  achievements 
in  the  East  designed  to  point  out?  What  effect  does  the  news 
have  upon  the  mood  of  Antony? 

9.  What  do  you  learn  of  the  character  of  Fulvia?  What  had 
been  her  influence  over  Antony?  How  had  the  effect  of  this 
influence  made  him  an  easier  mark  for  Cleopatra?  How  did 
Fulvia's  death  affect  Antony? 

10.  How  does  Enobarbus  meet  Antony's  determination  to  de- 
part? What  besides  the  death  of  Fulvia  incited  Antony  to  leave 
Egypt?    Were  his  personal  fortunes  endangered? 

192 


ANTONY  AND  CLEOPATRA  Questions 

11.  What  direction  does  Antony  give  to  Enobarbus  at  the  end 
of  Sc.  ii.  ? 

12.  What  had  induced  in  Cleopatra  the  mood  she  displays  at  the 
beginning  of  Sc.  iii.  ?     What  trait  of  character  does  it  show? 

13.  What  statement  of  political  conditions  does  Antony  give 
Cleopatra?  Could  Cleopatra  feel  any  personal  interest  in  the 
recital?     Had  she  the  mind  of  a  ruler? 

14.  Has  Antony  yet  realized  the  strength  of  his  thralldom  under 
Cleopatra?  What  two  opinions  of  Antony  do  you  get  at  the  open- 
ing of  Sc.  iv.  ?  How  much  of  each  was  just  and  how  much  due  to 
the  personal  temper  of  the  speakers? 

15.  Who  was  Lepidus?  What  was  his  relation  to  Octavius  and 
Antony  ? 

16.  How  large  a  stage  does  Sc.  iv.  set  for  the  enveloping  action? 
Are  they  historic  facts  that  Caesar  mentions  in  lines  56-71  ? 

17.  What  means  line  69 :  It  wounds  thine  honour  that  I  speak 
it  now? 

18.  What  feeling  overtakes  Cleopatra  in  Antony's  absence? 
What  is  the  nature  of  her  jests?  How  does  she  describe  herself? 
How  much  is  truth  and  how  much  historic  exaggeration?  To 
what  do  her  words  concerning  Caesar  and  Pompey  refer? 

19.  How  has  Cleopatra  contrived  to  get  news  of  Antony  during 
his  absence?  Do  you  call  this  passion  of  Cleopatra  love?  Does 
she  so  call  it?    How  might  it  be  named? 

20.  What  has  the  first  Act  established  as  the  motif  of  the  play? 
What  means  are  employed  to  suggest  infinite  proportions  ? 


ACT  SECOND. 

21.  Is  Sc.  i.  the  only  one  in  the  play  in  which  Pompey  and  his 
associates  absorb  the  action?  May  this  departure  from  the  prin- 
ciples of  dramatic  composition  be  said  to  violate  the  unity  of  the 
action?  How  is  coordination  effected  and  the  plot  advanced  by 
regarding  this  Scene  as  corresponding  to  a  Greek  chorus? 

22.  What  really  fresh  point  of  view  do  we  get  ? 

23.  Was  the  quarrel  with  Pompey  worthy  the  steel  of  the  three 
triumvirs? 

24.  What  view  of  Antony's  soldiership  do  we  derive  from 
Pompey  ? 

25.  Antony  says  to  Csesar  (Sc.  ii.  63),  The  third  o'  the  world  is 
yours :  which  third?     What  parts  went  to  the  other  triumvirs? 

193 


Questions  ANTONY  AND  CLEOPATRA 

26.  What  are  the  causes  of  difference  between  Octavius  and 
Antony?  Who  comes  out  the  better  in  their  quarrel ?  What  traits 
of  character  does  each  display? 

2"].  What  humour  is  in  Enobarbus? 

28.  What  bond  of  friendship  is  proposed  by  Agrippa?  What 
social  custom  of  Rome  do  we  see  in  the  plighting  of  Octavia? 
Was  Antony  even  half-hearted  in  his  acceptance? 

29.  What  scrupulousness  of  honour  does  he  display  in  regard  to 
Pompey  ? 

30.  Locate  Mount  Alisenum. 

31.  Give  the  use  of  the  word  fame  in  line  165.  Did  Shakespeare 
invent  Enobarbus's  description  of  Cleopatra  upon  the  river  of 
Cy  duns'? 

32.  What  comment  on  Antony's  susceptibility  does  Enobarbus 
make?  Does  anj^body  aside  from  Enobarbus  thofoughly  under- 
stand Antony? 

2,2>-  What  impression  do  you  get  of  Octavia  (Sc.  iii.)  on  her  first 
entrance  ? 

34.  If  the  soothsayer  had  reported  differently,  had  Antony  force 
of  character  enough  to  pursue  the  changed  course  of  his  actions? 

35.  Against  whom  was  Ventidius's  expedition  to  Parthia? 
2)6.  Sc.  iv.  represents  the  setting  forth  in  which  direction? 

27.  What  line  of  another  play  of  Shakespeare's  does  the  first  of 
Sc.  v.  suggest? 

38.  What  anachronism  does  this  Scene  contain? 

39.  Do  you  see  any  suggestion  of  cruelty  in  Cleopatra's  nature 
embodied  in  her  description  of  the  fishing?  What  is  the  incident 
Cleopatra  and  Charmian  here  recall  ?  Explain  Cleopatra's  prob- 
able meaning  in  calling  Antony's  sword  Philippan. 

40.  Compare  the  scene  where  Cleopatra  receives  the  messenger 
from  Rome  with  some  modern  play  of  similar  type — say  Sardou'? 
La  Tosca.  Has  Shakespeare  been  excelled  in  emotional  pitch? 
What  passions  here  contend  for  mastery  in  Cleopatra  ?  Cleopatra's 
impatience  for  news  defeats  her  means  of  getting  it:  could  this 
trait  be  properly  attributed  to  a  man?  In  her  descent  to  violence 
with  the  messengers  can  you  still  apply  the  words  of  Enobarbus 
that  vilest  things  become  themselves  in  her? 

41.  Where  was  Misenum?  What  was  the  purpose  of  the  meet- 
ing (Sc.  vi.)  of  the  generals?  What  special  cause  of  quarrel  had 
Pompey  with  Mark  Antony?  Was  it  on  account  of  the  strange 
courtesies  that  Antony  previously  referred  to? 

42.  What  new  view  of  Enobarbus  do  you  get  from  Pompey? 

194 


ANTONY  AND  CLEOPATRA  Questions 

What  prophesies  of  future  events  does  Enobarbus  make  to  Menas? 
Do  we  feel  the  force  and  truth  of  these  observations?  Is  Eno- 
barbus the  perfect  type  of  the  man  of  the  world? 

43.  Explain  the  meaning  of  vii.  5  applied  to  Lepidus,  They  have 
made  him  drink  alms-drink'^  Is  there  dramatic  reality  in  this 
colloquy  of  the  servants  ;  that  is.  is  not  the  pitch  too  high  for  what 
might  rationally  be  expected  of  servants?  What  function  as 
"machinery"  may  they  be  said  to  perform?  Do  you  find  here 
the  key  struck  for  the  succeeding  dialogue  in  which  Lepidus  fig- 
ures? Does  this  dialogue  indicate  the  status  of  Lepidus  among 
the  triumvirs? 

44.  What  does  Menas  propose  to  Pompey?  Why  does  Pompey 
reply.  In  me  'tis  villany?  May  we  believe  that  Pompey's  only 
motive  for  not  entertaining  Menas's  proposal  was  the  one  he 
alleges? 

45.  Who  seeks,  and  will  not  take  when  once  'tis  offer'd,  shall 
never  find  it  more:  Where  in  another  often  quoted  phrase  has 
Shakespeare  uttered  the  same  thought? 

46.  Do  we  discover  Enobarbus,  to  be  a  wit  equal,  let  us  say,  to 
Touchstone? 

ACT  THIRD. 

47.  What  is  the  dramatic  purpose  of  Sc.  i.  ?  Who  was  Marcus 
Crassus?  How  does  this  Scene  extend  the  stage  of  action  back  of 
the  limits  of  the  present  play?     Is  there  justification  for  so  doing? 

48.  W^hat  worldly  wisdom  does  Ventidius  display? 

49.  What  is  the  temper  of  Enobarbus's  words  in  his  dialogue 
with  Agrippa  (Sc.  ii.)  ? 

50.  What  parting  injunction  respecting  Octavia  does  Caesar  give 
Antony?  What  effect  has  it  on  Antony?  Is  the  auditor  sensible 
of  a  certain  irony  in  the  situation  whenever  these  new  marital 
relations  of  Antony  are  presented? 

51.  What  is  the  effect  of  Sc.  iii.  in  building  up  to  the  final 
catastrophe  ? 

52.  What  new  difference  arises  between  Csesar  and  Antony? 

53.  What  mission  is  Octavia  about  to  undertake  as  discussed  by 
her  and  Antony  in  Sc.  iv.  ? 

54.  What  is  the  dramatic  purpose  of  Sc.  v.?    ^ 

55.  Where  is  Antony  when  Csesar  accuses  him  in  Sc.  vi.? 

56.  What  do  we  learn  of  the  developing  fortunes  of  the  tri- 
umvirs ? 

195 


Questions  ANTONY  AND  CLEOPATRA 

57.  What  is  the  aesthetic  effect  of  the  list  of  kings  of  the  earth 
recited  (vi.  68-76)  by  Caesar? 

58.  What  event  has  intervened  before  Scs.  vi.  and  vii.  ? 

59.  What  was  the  report  current  in  Rome  about  the  management 
of  the  war? 

60.  What  advice  did  Antony  get  from  his  generals  respecting 
the  approaching  fight  ?  How  does  his  conduct  towards  them  point 
to  his  deterioration? 

61.  What  was  the  condition  of  the  fight  when  Cleopatra  fled 
from  the  battle? 

62.  What  does  Enobarbus  say  about  his  continued  allegiance  to 
Antony  ? 

63.  What  noble  traits  does  Antony  show  in  his  shame?  Do 
Antony's  reproaches  to  Cleopatra  at  all  lift  the  shame  from  his 
shoulders? 

64.  What  overtures  are  sent  by  both  Antony  and  Cleopatra  to 
Caesar?  What  is  the  reply  of  Caesar?  In  what  light  does  Caesar's 
commission  to  Thyreus  show  up  his  previous  judgement  upon 
Antony  and  Cleopatra? 

65.  Did  Cleopatra  expect  such  answer  as  Enobarbus  gave  to  her 
inquiry  in  Sc.  xiii.? 

66.  What  challenge  did  Antony  send  Caesar  after  the  receipt  of 
Euphronius's  message?  What  message  does  Thyreus  bring?  How 
is  he  answered  by  Cleopatra?  How  does  she  show  her  incon- 
stancy ? 

67.  In  the  reconciliation  with  Antony  does  Cleopatra  employ 
deceit? 

ACT  FOURTH. 

68.  How  does  Ccesar  receive  Mark  Antony's  return  of  his  mes- 
senger? 

69.  What  does  Sc.  ii.  show  Antony  to  have  lost? 

70.  What  effect  of  mystery  does  Sc.  iii.  convey? 

71.  Is  there  return  of  the  old  Antony  in  his  farewell  to  Cleo- 
patra before  going  to  battle? 

72.  Is  there  dramatic  fitness  in  the  way  the  desertion  of  Eno- 
barbus is  finally  accomplished?  Does  it  strengthen  the  feeling  of 
the  ruin  that  falls  about  Antony?  What  did  Mark  Antony  do 
after  hearing  of  it  ? 

72.  What  was  the  result  of  the  first  day's  fight? 

196 


ANTONY  AND  CLEOPATRA  Questions 

74.  What  was  the  end  of  Enobarbus?  Who,  if  any,  was  nobler 
or  saner  than  he? 

75.  In  Sc.  xii.  is  there  dignity  in  the  anger  of  Antony  against 
Cleopatra?  Why  does  Cleopatra  escape  without  attempting  de- 
fence? What  was  Cleopatra's  last  supreme  device  for  winning 
Antony?  What  is  the  effect  on  Antony  of  the  news  that  Cleopatra 
is  dead  ?     Is  it  "  divine  despair  "  ? 

76.  What  service  does  Antony  demand  (Sc.  xiv.)  of  Eros? 
What  comment  on  Antony's  reputation  does  Eros  furnish  in  his 
self-sacrifice? 

'j/y.  How  does  Dercetas  hope  to  profit  through  Antony's  death? 
What  message  does  Diomedes  bring  to  the  wounded  Antony? 

78.  What  was  the  "monument"?  What  poetic  refrain  (Sc. 
XV.)  does  Antony  utter? 

79.  What  are  Cleopatra's  parting  words  to  the  dead  Antony? 
What  suggestion  do  they  give  of  her  infatuation?  What  supreme 
touch  of  poetry  is  given  in  lines  66-68? 

80.  Has  Cleopatra  uttered  any  more  elevated  sentiments  than 
those  with  which  the  Act  closes?  Does  Cleopatra  justify  suicide 
for  her  own  case?  Considered  dramatically  and  historically,  has 
this  questioning  of  the  sin  of  suicide  any  fitness  in  Cleopatra's 
utterance?  Do  we  possibly  derive  here  some  insight  into  the 
secret  working  of  Shakespeare's  belief? 

ACT  FIFTH. 

81.  How  does  Caesar  receive  the  news  of  Antony's  death? 

82.  What  comment  on  Octavius  does  Agrippa  utter? 

83.  What  misgiving  concerning  Cleopatra  does  the  entrance  of 
the  Egyptian  at  the  particular  moment  when  Antony's  praises  are 
sung,  make  on  the  reader  ? 

84.  What  effect  is  produced  by  recalling  the  message  with  which 
Dolabella  is  sent? 

85.  What  estimate  of  Caesar  does  Cleopatra  make  in  the  opening 
of  Sc.  ii.?  Do  you  feel  it  just?  What  estimate  has  Caesar  of 
Cleopatra?  How  does  he  design  to  use  her?  Where  did  Antony 
bespeak  trust  in  Proculeius,  and  why?  What  does  Cleopatra  ask 
of  Caesar? 

86.  What  alternative  does  Cleopatra  prefer  to  going  to  Rome  in 
the  train  of  Caesar?  Who  informs  Cleopatra  of  Caesar's  determi- 
nation concerning  her  future?  What  warning  does  Caesar  give 
her  at  their  meeting?     What  trick  of   Caesar   was  revealed  by 

197 


Questions  ANTONY  AND  CLEOPATRA 

Seleucus?     Has  Cleopatra's  picture  of  the  play  at  Rome  historic 
or  Elizabethan  significance? 

87.  For  inconsequence  of  speech,  what  others  of  Shakespeare's 
creations  does  the  Clown  resemble?  What  view  of  Cleopatra  do 
you  get,  in  that  she  could  jest  with  a  simple  clown  amid  the  ruin 
of  her  fortunes?  Compare  the  self-slaughter  of  Cleopatra  with 
that  of  Juliet.     Which  showed  more  courage  ? 


88.  What  similarity  of  theme  do  you  notice  between  this  play 
and  Macbeth  ?  Is  this  an  action  or  a  passion  drama?  Has  Shake- 
speare ever  before  chosen  so  large  a  stage  for  his  action? 

89.  How  does  this  play  supplement  Julius  Cccsar? 

90.  Compare  Romeo  and  Juliet  with  this  play  and  state  any 
points  of  similarity  or  contrast.     Which  is  the  greater  play? 

91.  How  closely  does  Shakespeare  hold  to  Plutarch's  narrative? 

92.  Does  the  play  seem  overcrowded  with  minor  characters  ? 

93.  How  does  the  character  of  Antony  as  displayed  in  Julius 
Ccesar  compare  with  the  Antony  of  the  present  play? 

94.  Which  side  is  the  real  Antony,  the  soldier  or  the  artist- 
bohemian  ? 

95.  How  in  this  play  does  Shakespeare  make  you  feel  the  force 
of  the  qualities  of  Antony  that  the  play  of  Julius  Ccesar  is  more 
occupied  with?  Make  a  list  of  the  descriptive  epithets  you  find 
applied  to  him  by  the  people  of  the  play,  and  compare  them  with 
the  impressions  you  have  received  of  him. 

96.  Make  a  list  of  the  descriptive  epithets  you  find  applied  to 
Cleopatra.  Do  you  feel  the  truth  of  these  in  the  person  that 
Shakespeare  portrays? 

97.  In  Dryden's  All  for  Love  Octavia  and  Cleopatra  are  made 
to  meet  and  indulge  in  recrimination.  Do  you  feel  that  Shake- 
speare shows  the  finer  art  in  keeping  them  apart? 

98.  Do  you  find  that  Enobarbus  possesses  traits  in  common  with 
Hamlet,  or  Charles  II.,  or  Dean  Swift? 

99.  W^hat  underlying  principle  of  the  philosophy  of  life  does 
Shakespeare  inculcate  in  this  play? 

100.  What  can  you  say  of  the  purely  artistic  or  imaginative 
qualities  of  the  play?  Does  it  contain  as  beautiful  poetry  as,  for 
instance,  Macbeth!  Is  it  overmatched  in  Oriental  opulence  of 
colour  by  any  other  play — say  Othello"^  Notice  the  frequency 
with  which  the  moon  is  referred  to.  What  effect  of  mystery  is 
thus  obtained? 

198 


UNIVERSITY  OF  CALIFORNIA-LOS   ANGELES 


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